Blind Adventure.

Review #2057: Blind Adventure.

Cast: 

Robert Armstrong (Richard Bruce), Helen Mack (Rose Thorne), Roland Young (Holmes the Burglar), Ralph Bellamy (Jim Steele), John Miljan (Regan, Gang Leader), Beryl Mercer (Elsie, the Maid), Tyrell Davis (Gerald Fairfax), Henry Stephenson (Major Archer Thorne), and Laura Hope Crews (Lady Rockingham) Directed by Ernest B. Schoedsack (#283 - King Kong, #604 - Mighty Joe Young, #709 - The Most Dangerous Game, and #914 - Son of Kong)

Review: 

Okay, so remember Son of Kong (1933)? That was the rushed sequel to King Kong that retained the uses of Ernest B. Schoedsack as director/producer while featuring Robert Armstrong and Helen Mack (replacing Fay Wray from the original film) as the stars to basically be second-nature to the big effect (the film itself, well, was pretty disappointing, but that was a long time ago). Of course, there was one other aspect retained from the original Kong in Ruth Rose (familiar to Schoedsack, because she was his wife) as screenwriter. You may wonder just what does this have to do with Blind Adventure? Well, that was the other 1933 movie released by RKO Radio Pictures that had Armstrong and Mack as stars with Schoedsack as director, and Rose as a writer (Robert Benchley delivered uncredited work for the film); oddly enough, Cooper didn't produce the Kong sequel but did produce Blind Adventure. Schoedsack was a most curious filmmaker, as one would expect from somebody that honed their skills in the Signal Corps in World War I. He directed various films with a good chunk in collaboration with Merian C. Cooper (they met in Europe in 1918 and coincidentally were both pilots during the war), whether that involved producing films spent in the wilderness such as Chang: A Drama of the Wilderness (1927) or dramas such as The Last Days of Pompeii (1935) or effects-driven features such as Dr. Cyclops (1940) and his last key effort in Mighty Joe Young (yet another movie with Armstrong, Rose, and Cooper). Schoedsack died in 1979 at the age of 86.

The movie is perhaps too fitting for B-movie status within its 65-minute runtime and a premise involving "An American in foggy England all by himself". The enjoyment of the film depends on just how much you can take the film at face value with such little time to allow it to coat in interest. But B-movies were a dime a dozen, so those familiar with hazy surroundings will probably just be fine with what the film is selling, and I did eventually go with it, perhaps because sometimes one really does just go with the flow. So here we are with a plot about wrong houses wrapped in pea soup fog, incriminating cigarette cases, and friendly burglars. Armstrong I think is confident enough to hold the ship together with being thrust into such a strange time, which mostly means competent timing that is played for a bit of contrast with everyone that isn't about bluster with the previous Schoedsack ventures. Mack makes a casual lead to get thrust into the proceedings that mainly involves a bit of going along with whatever is happening and a bit of relief when it comes to "trifles". Of course, Young makes for a pleasant bundle of chuckles as the sly fox in the middle of pursuers and bumblers. This includes a minor adversary in Bellamy, who at least seems game within the mild diversion that comes when packed with other minor heavies that see one of them get bonked on the head at one point. As a whole, the enjoyment of the film depends on just how much a diversion one finds within such a short and measurable time, and I think it works out just alright, so take that for what it is worth.

Overall, I give it 7 out of 10 stars.

Big News (1929).

Review #1882: Big News.

Cast: 

Robert Armstrong (Steve Banks), Carole Lombard (Margaret Banks), Louis Payne (Hensel), Wade Boteler (O'Neill), Charles Sellon (Addison), Sam Hardy (Reno), Tom Kennedy (Ryan), Warner Richmond (District Attorney Phelps), and Helen Ainsworth (Vera, society editor) Directed by Gregory La Cava (#1787 - My Man Godfrey)

Review: 

Remember the good ol' days of directors being tasked to make movies on the quick and low that had a semblance of a plot to go with sound? Well, okay, maybe you are quite familiar with films of the late 1920s that saw plenty of filmmakers try to mold themselves away from the silent era with new output of sound and all the challenges that came with doing so. Gregory La Cava was at least familiar with making a number of films with romantic or comedic interludes before this one, cultivating himself with two-reel comedies before moving into features in the 1920s. and this one that was spearheaded by Pathé Exchange, Inc (the American subsidiary of Pathe-turned independent spinoff that did a number of movies from the 1910s until 1930). The film was based on the play For Two Cents by George S. Brooks, while the adaptation was done by Walter DeLeon, Jack Jungmeyer and Frank Reicher. Strangely enough, the film has a sound gimmick within its plot, because the climax involves a Dictaphone record. Well, that, and a reporter who has to fight alcoholism and a crime ring that wants to frame him for murder...of the boss that just fired him (yea, okay). The film features Carole Lombard, billed as Carol Lombard for the second-to-last time in her career, with this being one of three sound films in 1929. Of course, the real fresh face is Robert Armstrong, who actually had studied law at the University of Washington before becoming an actor while nearing the age of thirty in 1919 and a film actor in 1927. 

Somehow, this just didn't become one of those sound movies that people really remember. Maybe it was just too low budget to really dazzle audiences curious for hearing people talk, or maybe it just was something else (for curiosity, I looked up any contemporary review I could see of this film, and the only one called it a movie that "will make money wherever it is shown" - this was released only a month before the Wall Street crash, incidentally). When it comes to newspaper wisecrackers, The Front Page (released two years later as an adaptation of a Broadway play) probably ends up being one of the first ones you would mention among the early sound features, mostly because of its own snappy dialogue and eclectic timing. Of course, both movies were made before the rigid enforcement of the Production Code, so there's that to consider. Big News is merely just a thing that exists in mediocrity, not exactly writing the wheel on camera movement or snappy newspeak, but it can work out for those who want to spend 75 minutes on something that moves in a straight line. Sure, there are a few moments where it explores the trouble of trying to let go a good bottle, but you probably know where it will go in setting the steps to inevitably laying off the stuff (because hey, this was the 1920s), for better or worse. Armstrong in that sense makes a quality lead to follow, one who can play things with wryness that doesn't aim for straight pity, earning stripes of charm gradually over time for general interest. The newspaper scenes are breezy and worthy in what you might see from banter that doesn't plod too much, and Lombard shows withering devotion that has the bare promise of having screen presence with better material. Hardy plays the heavy with relatively no trouble, while Kennedy and Ainsworth make goofy support. As a whole, the movie looks exactly what you'd see from something with two sets and a climax that is not nearly as built together as it thinks it is (with a haphazard setup that is solved haphazardly) in a confusing muddle of a movie. Watching the movie seems like watching rainwater slowly move down gutters - it might seem nice for a while, but you won't really remember much of it when it passes by. It just doesn't do enough to win out in the end, but at least the main folks got to do more promising things.

Overall, I give it 6 out of 10 stars.

Son of Kong.

Review #914: Son of Kong.

Cast:
Robert Armstrong (Carl Denham), Helen Mack (Hilda Petersen), Frank Reicher (Captain Englehorn), John Marston (Nils Helstrom), Victor Wong (Charlie), and Ed Brady (Red) Directed by Ernest B. Schoedsack (#283 - King Kong, #604 - Mighty Joe Young, and #709 - The Most Dangerous Game)

Review:
I will watch Kong: Skull Island next week, and as such it makes sense to do a review of a Kong movie. Enjoy, and I would encourage checking out the other Kong reviews done over the years: #283, #604 (made with the same creative team), and #726 - King Kong (1976).

Released just nine months after the first film had been released into theaters, Son of Kong is a sequel that isn't as well known (nor well-liked) as the original film. The movie begins with a brief recap of the first film (in dialogue), with the premise being set up by the time 10 minutes pass by. At least they didn't just take footage from the end of the movie. Some of the cast from the first film (Armstrong, Reicher, and Wong) appear in this one, and this is certainly one that gives Armstrong a bit more in terms of characterization. The tight budget and shooting schedule (screenwriter Ruby Rose described doing the movie as this: "If you can't make it bigger, make it funnier") meant that several models from the first film were reused, though Willis O'Brien does contribute stop-motion animation once again. It isn't until around 43 minutes that the Son of Kong appears in the movie, looking noticeably lighter skinned than his larger father, with facial expressions that seem to go with any sort of comedic moments the movie tries to do. The best thing I can say about the movie is that it isn't just a simple repeat of the first film, with semblances of romance and adventure taking the mantle this time. Unfortunately, it doesn't really have much of the tension nor importance the first film. Simply put, it's obviously not as good as the first one. It doesn't have too much spectacle and is quite rushed, giving a product that could have had potential had there been more time and length (this is only 69 minutes long) given to the movie. By releasing the movie quickly in order to ride off the memories people had of the original film, Son of Kong manages to be a middling sequel that could have been so much better.

Overall, I give it 6 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: Mighty Joe Young (1949).

Review #604: Mighty Joe Young.

Cast
Terry Moore (Jill Young), Ben Johnson (Gregg), Robert Armstrong (Max O'Hara), Frank McHugh (Windy), Douglas Fowley (Jones), and Denis Green (Crawford) Directed by Ernest B. Schoedsack (#283 - King Kong)

Review
King Kong was a massive success (so good they rushed out a sequel named Son of Kong only 9 months later), and a few re-releases inspired RKO to make another movie about an gorilla, with Willis O'Brien supervising the stop motion effects, with Ray Harryhausen assisting him. The gorilla isn't as big or tall as Kong, but he is more sympathetic (I suppose) and he even gets a happy ending. King Kong had an aura of mystery for the first half mainly because of Skull Island and what it would be. Mighty Joe Young just flat out brings you to Africa without much tension, but I guess at this point trying the same thing twice wouldn't work. The actors in this film are alright, and for once there isn't a shrieking character, and Armstrong (who was Carl Denham in King Kong) is certainly persuasive in the role, he's a very lovable figure, and the most noticeable actor in this film. The effects are great, even if Joe isn't as intimidating as it may seem. The climax of the movie is well enough, it's not everyday you see a gorilla on a moving van. This is an alright movie that runs short but means well. The effects are probably better than the actors, but it at least is good looking, and in the end, I guess that's all that counts to having a good time.

Overall, I give it 7 out of 10 stars.

Movie Night: King Kong (1933).

Review #283: King Kong.

Cast
Bruce Cabot (Jack Driscoll), Fay Wray (Ann Darrow), Robert Armstrong (Carl Denham), Frank Reicher (Captain Englehorn), and James Flavin (Briggs. Directed by Merian C. Cooper and Ernest B. Schoedsack.

Review
King Kong is one of those effects-worthy films that live on and on. But is the film good for that? Yep. To begin with, the film's stop-motion animation by Willis O'Brien still lives up after nearly 80 years. It might be primitive to some, but give it credit as technology for films back then probably didn't extend to just "give some effects, it doesn't matter what" I love the way Kong looks, especially that toothy grin along with the dinosaurs. Yes, dinosaurs. (Have I ever said a sentence with dinosaurs? Probably not.) There is one thing that bothers me and that is the main lead, Fay Wray. My problem is that she simply screams for about half the film, which to be honest, is a bit annoying. Armstrong on the other hand is actually delightful, probably due to his portrayal. The film has a reasonable length (Though their were scenes that were taken out of the original film, one involving crabs.) that balances well and makes for a good film.

Overall, I give it 9 out of 10 stars.