Some films ask a lot from their audience this one often asks more than most audiences are willing to give. The story of this movie revolves around a new paramedic and his older more experienced partner. The young paramedic starts with high ideals and a desire to save people. However, as the weight of the job begins to wear on him, he finds himself becoming a different person. This movie does an excellent job of putting us in the shoes of this character. Through much of the film we feel his pain, shock and disillusionment. Much of the time these feelings feel overwhelming and almost more than we care bare, the way they do for him. We begin to see things through his eyes and connect with him on a very deep level. Though there are some graphically bloody scenes here, the most disturbing and unsettling part of this film is that we see the dark side of human nature in full force. The well achieved realism to these scenes is so well done that again it can become very hard to watch. We long for just one person to thank our protagonists but instead we get strings of curse words and insults that are all too real for us. This movie also benefits from excellent visual filmmaking. The uses of montage are excellently done and bring us fully into the main character's mental state.
However, even the most depressing films need a little relief for their audiences. After all there is only so much pain and discomfort an audience can stand. This movie crosses that line quite a few times and can often be more pain than most movie goers are willing to sit through. This movie also has a forced and predictable ending that feels out of place with how real the rest of this film feels.
This is a very well-done movie. However, it is one that is easier to appreciate than it is to actually like. I am glad I saw this movie, but I don't think I could ever handle watching it again.
Hello my friends and welcome to a special Easter service of Cowboy Church.
Today's musical selection begins with Roy Rogers and Dale Evans with Easter Is A Loving Time. This is the A-side of a 1955 Little Golden Record the husband-and-wife team made. The B-Side was Candy Cane Cake Walk. Here Roy and Dale are backed by The Sandpipers and Mitch Miller and his orchestra.
This is followed by Gene Autry with The Horse with the Easter Bonnet.
Afterwards is Johnny Paycheck with a song that feels like it was made for Easter, The Old Rugged Cross. This song dates back to 1913 and was written by evangelist, George Bennard. Actually, the first verse was written in 1912. It was written while Bennard was a part of a series of revival meetings in Albion, Michigan. He was worried about the complete disregard for the gospel around him and wrote this verse as a repose. Of writing it Bennard said, "I seemed to have a vision ... I saw the Christ and the cross inseparable." The song wouldn't be completed for several months, when he was leading meetings at a local church in Pokagan, Michigan. He played it for Rev. Leroy (the sponsoring pastor) and his wife, Ruby Bostwick, both of whom found themselves moved to tears. It was then incorporated into a service at that church on June 7, 1913. The song has the same effect today as it must have back then.
Then comes The Oak Ridge Boys with Because He Lives. Though this song in many was feels like an old hymn it is actually much more recent than you might think. The song was written by Gloria and William J. Gaither and won an award for being the Gospel Song of the Year for 1974. In an interview the couple stated how this song came to be, “‘Because he lives’ was written in the midst of social upheaval, threats of war, and betrayals of national and personal trust. It was into this world at such a time that we were bringing our third little baby. Assassinations, drug traffic, and war monopolized the headlines. It was in the midst of this kind of uncertainty that the assurance of the Lordship of the risen Christ blew across our troubled minds like a cooling breeze in the parched desert. Holding our tiny son in our arms we were able to write: How sweet to hold our newborn baby, And feel the pride, and joy he gives; But greater still the calm assurance, this child can face uncertain day because He lives."
Next is Johnny Cash with He's Alive. This beautiful song tells the story of Easter in a simple but powerful way that makes you picture yourself as one of the twelve. This song never fails to move me anytime I listen to it and in my mind Johnny Cash does the best version. It simply feels like this song was written with John's voice in mind.
Afterwards is The Monroe Brothers with their 1936 recording of You've Got To Walk That Lonesome Valley.
Then comes Jim and Jesse with Kneel at the Cross. This song was written by Charles Moody. Though Moody's work was hardly confined to gospel music (he was a part of a popular secular band called The Georgia Yellowhammers), he did write many gospel songs (another being, Drifting Too Far From the Shore). This song was written in 1924 and has become a southern gospel standard. This recording comes from Jim and Jesse's 1964 gospel album The Old Country Church. The boys' harmony here is simply perfect and this is one of my favorite versions of this song.
Now for The Foggy Mountian Quartet with Are You Washed in the Blood of the Lamb.
Then comes The Sons of the Pioneers with their 1937 recording of Power in the Blood. Roy Rogers (known at this time by his birth name Leonard Slye) sings lead on this song.
Today's musical selection ends with Bob Dylan with his self-penned Thief on the Cross. While this song did not make it on one of Bob's main Christian albums, it would eventually appear on his 2017 box set, The Bootleg Series Vol. 13: Trouble No More 1979–1981. This is a live recording of the song recorded in 1981, but not released until that 2017 box set.
Now for a lovely Easter poem from Pat Buttram. This comes from a 1951 episode of Gene Autry's Melody Ranch radio show.
Now for a special Easter treat.
Now for a sermon appropriate for Easter, here is S.M. Lockridge with Sunday's Coming.
And an Easter message from Billy Graham.
Matthew 27 & 28
Judas Hangs Himself
27 Early in the morning, all the chief priests and the elders of the people made their plans how to have Jesus executed. 2 So they bound him, led him away and handed him over to Pilate the governor.
3 When Judas, who had betrayed him, saw that Jesus was condemned, he was seized with remorse and returned the thirty pieces of silver to the chief priests and the elders. 4 “I have sinned,” he said, “for I have betrayed innocent blood.”
“What is that to us?” they replied. “That’s your responsibility.”
5 So Judas threw the money into the temple and left. Then he went away and hanged himself.
6 The chief priests picked up the coins and said, “It is against the law to put this into the treasury, since it is blood money.” 7 So they decided to use the money to buy the potter’s field as a burial place for foreigners. 8 That is why it has been called the Field of Blood to this day. 9 Then what was spoken by Jeremiah the prophet was fulfilled: “They took the thirty pieces of silver, the price set on him by the people of Israel, 10 and they used them to buy the potter’s field, as the Lord commanded me.”[a]
Jesus Before Pilate
11 Meanwhile Jesus stood before the governor, and the governor asked him, “Are you the king of the Jews?”
“You have said so,” Jesus replied.
12 When he was accused by the chief priests and the elders, he gave no answer. 13 Then Pilate asked him, “Don’t you hear the testimony they are bringing against you?” 14 But Jesus made no reply, not even to a single charge—to the great amazement of the governor.
15 Now it was the governor’s custom at the festival to release a prisoner chosen by the crowd. 16 At that time they had a well-known prisoner whose name was Jesus[b] Barabbas. 17 So when the crowd had gathered, Pilate asked them, “Which one do you want me to release to you: Jesus Barabbas, or Jesus who is called the Messiah?” 18 For he knew it was out of self-interest that they had handed Jesus over to him.
19 While Pilate was sitting on the judge’s seat, his wife sent him this message: “Don’t have anything to do with that innocent man, for I have suffered a great deal today in a dream because of him.”
20 But the chief priests and the elders persuaded the crowd to ask for Barabbas and to have Jesus executed.
21 “Which of the two do you want me to release to you?” asked the governor.
“Barabbas,” they answered.
22 “What shall I do, then, with Jesus who is called the Messiah?” Pilate asked.
They all answered, “Crucify him!”
23 “Why? What crime has he committed?” asked Pilate.
But they shouted all the louder, “Crucify him!”
24 When Pilate saw that he was getting nowhere, but that instead an uproar was starting, he took water and washed his hands in front of the crowd. “I am innocent of this man’s blood,” he said. “It is your responsibility!”
25 All the people answered, “His blood is on us and on our children!”
26 Then he released Barabbas to them. But he had Jesus flogged, and handed him over to be crucified.
The Soldiers Mock Jesus
27 Then the governor’s soldiers took Jesus into the Praetorium and gathered the whole company of soldiers around him. 28 They stripped him and put a scarlet robe on him, 29 and then twisted together a crown of thorns and set it on his head. They put a staff in his right hand. Then they knelt in front of him and mocked him. “Hail, king of the Jews!” they said. 30 They spit on him, and took the staff and struck him on the head again and again. 31 After they had mocked him, they took off the robe and put his own clothes on him. Then they led him away to crucify him.
The Crucifixion of Jesus
32 As they were going out, they met a man from Cyrene, named Simon, and they forced him to carry the cross. 33 They came to a place called Golgotha (which means “the place of the skull”). 34 There they offered Jesus wine to drink, mixed with gall; but after tasting it, he refused to drink it. 35 When they had crucified him, they divided up his clothes by casting lots. 36 And sitting down, they kept watch over him there. 37 Above his head they placed the written charge against him: this is jesus, the king of the jews.
38 Two rebels were crucified with him, one on his right and one on his left. 39 Those who passed by hurled insults at him, shaking their heads 40 and saying, “You who are going to destroy the temple and build it in three days, save yourself! Come down from the cross, if you are the Son of God!” 41 In the same way the chief priests, the teachers of the law and the elders mocked him. 42 “He saved others,” they said, “but he can’t save himself! He’s the king of Israel! Let him come down now from the cross, and we will believe in him. 43 He trusts in God. Let God rescue him now if he wants him, for he said, ‘I am the Son of God.’” 44 In the same way the rebels who were crucified with him also heaped insults on him.
The Death of Jesus
45 From noon until three in the afternoon darkness came over all the land. 46 About three in the afternoon Jesus cried out in a loud voice, “Eli, Eli, lema sabachthani?” (which means “My God, my God, why have you forsaken me?”).
47 When some of those standing there heard this, they said, “He’s calling Elijah.”
48 Immediately one of them ran and got a sponge. He filled it with wine vinegar, put it on a staff, and offered it to Jesus to drink. 49 The rest said, “Now leave him alone. Let’s see if Elijah comes to save him.”
50 And when Jesus had cried out again in a loud voice, he gave up his spirit.
51 At that moment the curtain of the temple was torn in two from top to bottom. The earth shook, the rocks split 52 and the tombs broke open. The bodies of many holy people who had died were raised to life. 53 They came out of the tombs after Jesus’ resurrection and went into the holy city and appeared to many people.
54 When the centurion and those with him who were guarding Jesus saw the earthquake and all that had happened, they were terrified, and exclaimed, “Surely he was the Son of God!”
55 Many women were there, watching from a distance. They had followed Jesus from Galilee to care for his needs. 56 Among them were Mary Magdalene, Mary the mother of James and Joseph, and the mother of Zebedee’s sons.
The Burial of Jesus
57 As evening approached, there came a rich man from Arimathea, named Joseph, who had himself become a disciple of Jesus. 58 Going to Pilate, he asked for Jesus’ body, and Pilate ordered that it be given to him. 59 Joseph took the body, wrapped it in a clean linen cloth, 60 and placed it in his own new tomb that he had cut out of the rock. He rolled a big stone in front of the entrance to the tomb and went away. 61 Mary Magdalene and the other Mary were sitting there opposite the tomb.
The Guard at the Tomb
62 The next day, the one after Preparation Day, the chief priests and the Pharisees went to Pilate. 63 “Sir,” they said, “we remember that while he was still alive that deceiver said, ‘After three days I will rise again.’ 64 So give the order for the tomb to be made secure until the third day. Otherwise, his disciples may come and steal the body and tell the people that he has been raised from the dead. This last deception will be worse than the first.”
65 “Take a guard,” Pilate answered. “Go, make the tomb as secure as you know how.” 66 So they went and made the tomb secure by putting a seal on the stone and posting the guard.
Jesus Has Risen
28 After the Sabbath, at dawn on the first day of the week, Mary Magdalene and the other Mary went to look at the tomb.
2 There was a violent earthquake, for an angel of the Lord came down from heaven and, going to the tomb, rolled back the stone and sat on it. 3 His appearance was like lightning, and his clothes were white as snow. 4 The guards were so afraid of him that they shook and became like dead men.
5 The angel said to the women, “Do not be afraid, for I know that you are looking for Jesus, who was crucified. 6 He is not here; he has risen, just as he said. Come and see the place where he lay. 7 Then go quickly and tell his disciples: ‘He has risen from the dead and is going ahead of you into Galilee. There you will see him.’ Now I have told you.”
8 So the women hurried away from the tomb, afraid yet filled with joy, and ran to tell his disciples. 9 Suddenly Jesus met them. “Greetings,” he said. They came to him, clasped his feet and worshiped him. 10 Then Jesus said to them, “Do not be afraid. Go and tell my brothers to go to Galilee; there they will see me.”
The Guards’ Report
11 While the women were on their way, some of the guards went into the city and reported to the chief priests everything that had happened. 12 When the chief priests had met with the elders and devised a plan, they gave the soldiers a large sum of money, 13 telling them, “You are to say, ‘His disciples came during the night and stole him away while we were asleep.’ 14 If this report gets to the governor, we will satisfy him and keep you out of trouble.” 15 So the soldiers took the money and did as they were instructed. And this story has been widely circulated among the Jews to this very day.
The Great Commission
16 Then the eleven disciples went to Galilee, to the mountain where Jesus had told them to go. 17 When they saw him, they worshiped him; but some doubted. 18 Then Jesus came to them and said, “All authority in heaven and on earth has been given to me. 19 Therefore go and make disciples of all nations, baptizing them in the name of the Father and of the Son and of the Holy Spirit, 20 and teaching them to obey everything I have commanded you. And surely I am with you always, to the very end of the age.”
Thanks for joining me. Come back next week for another service of Cowboy Church. Happy trails to you until we meet again.
Hello my friends and happy Saturday morning. Once again it is time for some classic cartoons.
Today's cartoon selection begins with Mighty Mouse in The Mysterious Package (1960). This is the next to last theatrical short film to star Mighty Mouse.
Next comes the Rainbow Parade cartoon, Scotty Finds a Home (1935). The following are some exhibitors reviews from the Motion Picture Herald, "SCOTTY FINDS A HOME: Rainbow Parade Cartoon - Better than average cartoon. - H.G. Crawford. Palace Theatre, Plano, Texas. Small Town and rural patronage." "SCOTTY FINDS A HOME: Rainbow Parade Cartoon - Not the best colored cartoon but will please. - C.L. Niles, Niles Theatre, Anamosa, Iowa. General Patronage." "SCOTTY FINDS A HOME: Rainbow Parade Cartoon - Very good, clear and amusing. Rather far fetched though as the antics of the dog Bum are concerned. Running time 10 minutes. - J.W. Lehrkind, Strand Theatre, White Sulpher Springs, Mont. Small town and local patronage."
If you asked me to pick a cartoon that perfectly shows what the style of the Fleischer Studio was, I would pick, Bimbo's Initiation (1931). This cartoon has everything that makes the Fleischer Studio one of the most unique animation studios of all time. The film has a lot of surreal humor, a very detailed look, a dark and dangerous atmosphere, and was definitely intended more for adults than kids. One thing the Fleischers strived for was to put a gag in every moment of the film and this cartoon has that in abundance. Bimbo was a star character at this time, but his star was soon to be eclipsed by another character in this film, Betty Boop. Betty had made her debut a year earlier with Dizzy Dishes (1930). It wouldn't be long until Bimbo would be playing supporting roles in Betty Boop cartoons. Eventually Betty's films would drop Bimbo. Betty would also later own a dog making her one of the few cartoon characters to both own and date a dog (and even be a dog in her earliest appearances). This cartoon was placed at 37 in Jerry Beck's book, The 50 Greatest Cartoons.
Next is a black and white Looney Tunes with Porky's Midnight Matinee (1941). This Chuck Jones directed short film features Porky trying to capture a small ant. Porky also tried to capture a similar ant in another Chuck Jones directed cartoon from the same year, Porky's Ant (1941).
Now it is time for a commercial break.
Now it is time for some Saturday Morning Minions.
Next, we join our good friend Donald Duck in Straight Shooters (1947). This was an early Jack Hannah directed Donald Duck short. Hannah had directed four Donald Duck cartoons beforehand; The Eyes Have It (1945), No Sail (1945), Light House Keeping (1946) and Frank Duck Brings 'Em Back Alive (1946). However, Jack King had still been the main director of Donald's shorts. However, Jack King would retire in 1947 and Jack Hannah would for the most part take over the series afterwards, directing many great Donald Duck shorts. Though this short film was originally created for movie theaters, it would later air as part of an episode of the Disneyland TV series entitled Duck for Hire (1957).
Now it is silent movie time with the Out of the Inkwell film, Koko's Big Catch (1924).
Next comes Toby the Pup in Circus Time (1931). Though this film is definitely crude compared to what Disney, The Fleischers and even Warner Brothers were making at this time, there is a certain charm to this film that I simply love.
Now let us close by singing a song we all know.
Thanks for joining me. Come back next week for another selection of animated treasures. Until then may all your tunes be looney and your melodies merry.
Resources Used
The 50 Greatest Cartoons edited by Jerry Beck
Looney Tunes and Merrie Melodies: A Complete Illustrated Guide to the Warner Brothers Cartoons by Jerry Beck and Will Friedwald
As most moviegoers know, Liam Neeson has spent most of the recent part of his career making revenge thrillers that follow a certain formula. While in many ways this film conforms to this formula, this is easily one of his better films of recent years. One of the reasons of this is the sheer sense of atmosphere throughout. This film not only takes place in Ireland but was shot there. This movie truly captures the visual beauty of Ireland, and this visual beauty delightfully contrasts with the darkness of the story. One could argue that Ireland is as much of character here as any that are played by actors. This movie also very much takes its time to build up atmosphere. It starts off a slower pace than many recent Liam Neeson films, but these slower scenes draw us deeper into the dark but beautiful world of this movie. When we reach the bloody action-packed climax, it feels completely earned and has more weight to it. This film also benefits from a strong supporting cast. Kerry Condon, Desmond Eastwood and other turn in truly wonderful performances that help make these characters feel very human and real. The script by Mark Michael McNally and Terry Loane has a lot of well written and intelligent dialogue that elevates this above many other revenge thrillers.
This movie does have its flaws though. There are a few times when its adherence to the formula can make certain scene seem a little too familiar (especially for those who have seen Liam Neeson's recent films). This is also a movie full of clever ideas (such as do the ends truly justify the means) that are not as explored as they should be.
While this is formula driven movie, it delivers this formula in an excellent way.
Pure dumb fun action movie spectacle that is best seen on the big screen.
Most of you are familiar with Martin Scorsese's criticism of Marvel movies where he compared them to theme park rides. While I disagree with this when it comes to Marvel films, this comparison is completely apt when it comes to a movie. However, this is not really a criticism here as this film works well as just this. Getting out of this movie I felt like I had been on a really good ride at Universal Studios. The visuals and action scenes here are amazing. This film takes a real sci-fi turn early on, and it works fantastically. The whole sci-fi world is simply incredible to look at. The sheer amount of detail in each moment in this sci-fi atmosphere helps make this an incredible visual treat. The action scenes are also great and the climatic one is a pure thrill ride. Director/writer Adam Wingard (who also directed Godzilla VS. Kong (2021)) is a huge fan of these characters and his passion is truly felt in these action scenes. It can also be felt in the scenes between Kong and his son (?), as there is a lot of pantomime moments here that shows the filmmakers truly understand these characters. I always have respect for purely visual storytelling and these moments to this quite well. This movie also benefits from a great villain who feels like a real threat to our heroes (even if he does kinda look like he could be a boss in a Donkey Kong Country video game). However this pure visual spectacle does mean that this movie will lose a lot on the smaller screen when it comes out on Blu-ray and streaming. In fact this is a movie that needs to be seen on either IMAX or Dolby to actually experience it.
While comparisons to last year's Godzilla Minus One (2023) may not be fair, it is interesting to note the completely different approach to the human characters. In Godzilla Minus One the human characters were the heart of the story, giving us a powerful emotional drama. In this film however they are simply stand-ins for the audience. They are watching the monster action and commenting on it, while we see it through their eyes. While I prefer the Godzilla Minus One approach, this works well enough. There is little depth to these human characters, but they serve their purpose and do it well. There are a couple moments where there is some attempted drama between the human characters, but these are few and far between. This is probably for the best as those moments are the weakest in the film.
The main flaw with this movie is the first act. This first act mostly consists of clumsily delivered exposition. Not only is this exposition delivered in an awkward way, but it also simply is not very entertaining. Luckily the movie gets much more fun as it goes along. The movie also has some very weak comedy moments.
This is not a great movie, but it is a very fun one.
This film has a premise that sounds perfect for a teen comedy, two teenage boys are constantly getting in trouble with schemes to make money buy a snack shack at a pool with the intentions of making tons of money. However this premise is completely wasted. The main problem with this movie is that despite being a comedy I did not laugh once during the whole film (and neither did anyone in the theater with me). Most of the humor revolves around the main characters being obnoxious foul mouthed jerks. None of this is funny for even a second. In fact rather than funny this comes off as simply annoying. While these types of characters can be funny if done right, them simply being obnoxious and foul mouthed is not funny in and of itself. As bad as this is when the movie is trying to be funny, it is even worse when the film asks you to take it seriously. Towards the last act this movie drifts into being more serious, despite it just being a silly comedy beforehand. Not only does this shift from comedy to drama feel forced but it is impossible to care about the drama when we truly hate these characters.
I came into this not expecting much but I was still disappointed in every level by this train wreck of a movie. Avoid at all costs.
Very conventional storytelling can't ruin an incredible true story.
This movie is the first feature film directed by Joel Smallbone (of the Christian pop-duo For King and Country). For his first film as director, he tells the story of his own family moving to the U.S. from Australia and winding up there without the job his dad was promised in this new country. This movie specifically focuses on his parents and his big sister (Christian singer Rebecca St. James). As well as directing Smallbone also plays his own father in this film.
The true story this film is told is wonderful. It is a very touching story about how a family with all the odds against them survive in a strange new country and without money, thanks to their faith in God and love for each other. Yet it also delves into the difficultly of accepting help because of our own pride. Much of the heart of the movie comes from the father learning this simple but difficult lesson. The Proformances are wonderful all around with Smallbone as the dad standing out. This film also boasts quite a few really well-done emotional moments, especially involving the parents. Much of this is due to how much we truly care about the parents and Rebecca.
However, this movie is told in a very familiar way and there are many times when the film can feel a bit too much like many other movies you have seen. The film is also told in too fast a pace, often hoping from one story point to another. This often lead the supporting characters and even some of the kids in the family to not being very fleshed out. We don't ever feel like we truly get to know some of these characters.
While not perfect this movie does tell a good story and has many emotionally effective scenes.
A good addition to the Ghostbusters franchise, even if it doesn't reach the heights of the first film or Afterlife.
Gil Kenan is a strong director with some very good movies to his name (Monster House (2006), City of Ember (2008), A Boy Called Christmas (2021)), however he is not a director that is known for comedy. This personally explains a lot about this movie. While there are some really funny moments here, there are not as many as you might expect from a Ghostbusters film. This was a bit disappointing as I went into a Ghostbusters film expecting to laugh more than I did (though there still were times when I laughed quite a bit). However, this film certainly did a great job in other areas.
This is a very atmospheric movie. This is felt from the very first scene. The opening scene is legitimately creepy and could have easily been in a horror movie. The whole film in fact has a darker and more sinister feel to it than the previous movies and this works perfectly. This is especially well captured in the scenes in the nighttime and with the ghost girl that Pheobe befriends. From how the scenes are shot and lit, there is a real feeling of foreboding and dread. The scenes with New York are filling up with ice are equally well done and create a sense of suspense. The villain is one of the franchise's best. His design is legitimately creepy and memorable. He also feels like an incredible threat to our experienced ghostbuster heroes.
While I could almost always see just where the story was going, it was still very well told. Pheobe's character arc is well done, and we always feel an emotional connection with her that makes even the most predictable parts work.
Of course, this film benefits from a wonderful cast. Everyone in this film is wonderful in their roles from the original Ghostbusters to the new generation of characters. Special praise must be given though to both Dan Akroyd and Mckenna Grace. Mckenna Grace is the real heart of this movie, and she does a wonderful job. Dan Akroyd is simply having the time of his life making this film and that can be felt in every scene he is in. Ernie Hudson also does a great job here with finally not just being the other ghostbuster. Admittedly though this film has too many characters and not all of them on the time to shine that they should have (unfortunately including Bill Murray).
Also I will say that Slimer feels forced into this movie simply for fanservice. His scenes are neither that funny nor do they add anything to the film.
While this may not be the best Ghostbuster film, it is still a delightful movie.
Hello my friends and welcome back to another service of Cowboy Church.
Today's musical selection begins with Roy Rogers and Dale Evans with Have You Read the Bible Today. It is important for each of us to read our Bible each and every day. The Bible is not just some book, it is the living breathing word of God. It is easy for our faith and Christian walk to become idle and stagnant and the easiest way for this to happen is to simply not read our Bible. Taking some time each day to read the Bible is the best way for our faith and our walk with God to continue growing and maturing. This recording is the B-side of a 1955 Little Golden Record by Roy and Dale. The A-side was The Bible Tells Me So.
This is followed by Red Foley's 1951 recording of Peace in the Valley. On September 19, 1968, Red Foley was doing a show in Fort Wayne, Indiana with Billy Walker and Hank Williams Jr. Billy Walker took the time they had together and share his faith in Christ. Red asked Billy, “Do you think God could ever forgive a sinner like me?” Billy told his friend, "Red, if God can forgive me, He can forgive you." The two then prayed together. Red ended that night's set with Peace in the Valley. After his set was over Red said to Billy, "Billy, I’ve never sung that song and feel the way I do tonight.” Later that night Red died in his sleep of respiratory failure. Hank Jr. would write a song about this last day entitled I Was With Red Foley (The Night He Passed Away).
Afterwards is Billy Walker with Do Lord.
Then comes Hank Locklin with Today Has Already Come to Pass.
Next is Carrie Underwood with Oh How I Love Jesus. This hymn was based off a poem by Frederick Whitfield. This poem was entitled The Name of Jesus and originally appeared in 1855 in hymn-sheets and leaflets. It would appear in 1861's Sacred Poems and Prose, which was a collection by Whitfield himself. This recording of the hymn comes from Carrie's 2021 gospel album, My Savior.
Now for The Blue Sky Boys with their 1947 recording of The Chapel in the Hills. This song was written by Karl Davis and Harty Taylor, who also wrote such songs as I'm Just Here to Get My Baby Out of Jail and When the Atom Bomb Fell.
Afterwards is The Sons of the Pioneers with their 1941 recording of What Wonderful Joy.
Next comes Johnny Cash performing Where the Soul of Man Never Dies from his 2003 album My Mother's Hymn Book. In the liner notes John stated, "That's another one of those gospel quartet things - a very infectious melody and a song I always loved. When I was picking out songs for this album, that one felt so good I had to use it. I didn't talk to Rick [producer Rick Rubin] about making a gospel record. He just kept asking me, what I would like to sing, so I started singing some gospel and he liked them. He said, 'Let's find one that fits, that feels really good to you, and we'll record it,' so we kept working towards that end."
Today's musical selection ends with The Carver Boys with their 1929 recording of I'm Anchored in Love Divine.
Now for the Gene Autry movie, Public Cowboy No.1 (1937). The film is directed by Joseph Kane, who directed many B-westerns starring such great cowboy stars as Gene Autry, Roy Rogers and John Wayne. He may not be a well-remembered director, but his movies were always fast paced and a lot of fun. This movie also stars Smiley Burnette (who gets to sing a few fun songs that he wrote himself) and Ann Rutherford (who had also appeared in the Gene Autry movies, Melody Trail (1935), The Singing Vagabond (1935) and Coming Around the Mountain (1936).
Independent Exhibitors Film Bulletin, 1937
Next comes the C.S. Lewis essay, Myth Became Fact.
Finally, all of you, be like-minded, be sympathetic, love one another, be compassionate and humble. 1 Peter 3:8
Even as the Son of Man came not to be served but to serve, and to give his life as a ransom for many. Matthew 20:28
Heal me, O Lord, and I shall be healed; save me, and I shall be saved: for thou art my praise. Jeremiah 17:14
So with you: Now is your time of grief, but I will see you again and you will rejoice, and no one will take away your joy. 1 John 16:22
He gives strength to the weary and increases the power of the weak. Isaiah 40:29
May the God of hope fill you with all joy and peace in believing, so that by the power of the Holy Spirit you may abound in hope. Romans 15:13
Now faith is the assurance of things hoped for, the conviction of things not seen. Hebrews 11:1
The way of fools seems right to them, but the wise listen to advice. Proverbs 12:15
For by the grace given me I say to every one of you: Do not think of yourself more highly than you ought, but rather think of yourself with sober judgment, in accordance with the faith God has distributed to each of you. Romans 12:3
Thanks for joining me. Come back next week for another service of Cowboy Church. Happy trails to you until we meet again.
Hello my friends and happy Saturday morning. Once again it is time for some classic cartoons.
Today's cartoon selection begins with Little Lulu in The Baby Sitter (1947). This is the next to last entry in the original run of short films starring Little Lulu. However, Lulu would appear in two more theatrical shorts in the early 60's. The following is from a 1945 issue of Showman's Trade Review, "Genral national promotions have been set that will provide new showmanship values for Paramount's cartoon character, Little Lulu, in key towns all over the country. Prominent in the promotional campaign is a series of elaborate window displays ranging in cost from $250 to $2500 each in which Little Lulu will be featured by department stores in many parts of the country to enliven the Christmas atmosphere."
Up next is a classic Terrytoon short, The Clock Maker's Dog (1956).
Now we join Oswald the Lucky Rabbit in Teacher's Pests (1932). I have a real love of the Oswald cartoons of this era. At this time the Oswald films were made by Walter Lantz Studio. They brought such creativity and a certain surrealistic feel to this films that I simply find irresistible.
Now for a classic early black and white Silly Symphony, The Clock Store (1931). Like many of the early Silly Symphonies, this movie doesn't have much in the way of plot but instead focuses mainly as a mood piece. This allows the Disney studio to do what they did best, with wonderful animation, beautiful artwork and an incredible sense of atmosphere. No other Hollywood cartoon studio of the time could have done a cartoon like this and make it turn out so well. This film is heavily helped by a truly wonderful group of artists. Johnny Cannon animates the lamplighter. Our first peek inside the clock store is animated by Cecil Surrey. Chuck Couch, an underrated Disney animator and also a cartoon writer for Disney, Walter Lantz and Hanna-Barbera, animates the cuckoo clocks. Harry Reeves, who would work as a Disney animator and story writer into the 1950's, animates the four alarm clocks. Hardie Gramatky animates the timepieces. Frenchy de Trémaudan animates the wristwatches and the dancing alarm clocks. Dan Tattenham animates the Swiss clock with the chimes. Albert Hunter animates the wonderful scene with the minuet figures. Ben Sharpsteen, who would later be supervising director on the Disney features Pinocchio (1940), Fantasia (1940) and Dumbo (1941), animates the grandfather and grandmother clocks. Charles Byrne animates the Dutch windmill clock. Jack King, later director for both Warner Brothers and Disney (at Disney he directed some of the finest Donald Duck cartoons), animates the Dutch dance. Rudy Zamora, who had previously been a major animator at the Fleischer Studios and would later animate on the Charlie Brown TV specials as well directing various TV cartoons for Hanna-Barbera, animates the alarm clocks fighting and the clock on the wall. Joe D'Igalo animates the crowd cheering for the fight. This film made its TV debut on an episode of The Mickey Mouse Club that aired on December 1, 1955.
16mm Sound Films, 1956
Now it is time for a commercial break.
Now for silent movie time with Alice's Little Parade (1926). This short film is part of Walt Disney's series of Alice Comedies, which featured a live action little girl in an animated world. Over the course of 57 short films the live action little girl was played by four different actresses. Here she is played by Margie Gay, the second actress to take the role.
Next comes a black and white Looney Tunes short that I have always had a real fondness for, Porky's Bear Facts (1941). This cartoon was directed by Friz Freleng and while it is not as completely crazy as the black and white Looney Tunes directed by Tex Avery, Bob Clampett or Frank Tashlin it does certainly have moments that show what was quickly becoming the studio's signature sense of humor. Characters break the fourth wall and silly visual gags certainly find their way in at times. Yet at the same time the film feels more grounded, and story driven than some of the studio's other efforts at this time. The story itself is somewhat of a takeoff on The Grasshopper and the Ants (which Disney had made a Silly Symphony based around in 1934). In typical Warner style the ending here goes completely against the moral of the story. Like many Porky cartoons of this era, Porky's role is very minimized. The truth was most of the directors were getting tired of working with the pig and this made him become a supporting character in his own cartoons for a while. A reviewer in The Film Daily was not that impressed with this cartoon stating, "Rate it just as fair." A reviewer in the Motion Picture Daily found the true main character of the film quite likable stating, "An engaging character that shiftless bear." The following is an exhibitor's review from The Motion Picture Herald, "PORKY'S BEAR FACTS: Looney Tunes — Fine. Vitaphone is our best bet for good cartoon fare. Running time, nine minutes. —Fred C. Allen, Princess Theatre, Piedmont, Ala. Small town patronage."
Now we join our good friend Popeye in Gopher Spinach (1954).
Now to end with a song we all know by heart.
Thanks for joining me. Be sure to come back next week for more animated treasures. Until then may all your tunes be looney and your melodies merry.
Resources Used
Of Mice and Magic: A History of the American Animated Cartoon by Leonard Maltin
Walt Disney's Silly Symphonies: A Companion to the Classic Cartoon Series by Russel Merrit and J.B. Kaufman
A very uneven dramedy but with moments of greatness.
It is obvious that this is a very personal film for director/writer/star Julio Torres. Much of the movie is based off of his own experiences immigrating to the U.S. It is this personal feel that provides the movie with its best moments. There are some very emotionally effective moments as we watch the main character trying to survive despite so much being stacked against him. There was even one scene that I found very hard to watch because I cared about him and didn’t want to see him have to go through this. This movie has many surreal images but one stands out as kind of brilliant. This has our hero finding his way through a maze of rooms that seems impossible. This is such a cinematic and intelligent way to show the ridiculousness of the red tape he must cut though. I truly wish the rest of the film could have been as great as this moment. Even during many of the moments that really don’t work are kept from ruining this film because you can tell this is from a filmmaker who cares deeply about the story he is telling. Even the messiest movies are often worth watching if they have this passion.
What also works in this movie is the relationship between our main character and his hopefully sponsor. At first these characters seem to have nothing in common (his sponsor can be incredibly unlikable) but you truly believe the relationship that grows between them, and you can see how they truly get each other. The great chemistry between Julio Torres and Tilda Swinton doesn't hurt at all.
The main problem with this film is that for a movie that is just as much a drama as it is a comedy, it is for the most part not funny. It gets worse when some of the least funny comedic moments sadly become running jokes. Our main character’s depressing ideas for children’s toys or his sponsor’s rants at everyone she comes in contact with where not funny in the first place and they become even less funny each time they are repeated. This film also will mistake being weird or surreal for being funny, but they are simply not the same thing. The craigslist scenes were simply painful to sit through. They only thing that really made me laugh here was Isabella Rossellini's narration, which was actually often really funny.
This movie also suffers from bland and forgettable side characters and the more surreal elements not always being well incorporated into the film.
This movie is very messy at times, but there is enough that really worked that I am glad I watched it.
What makes this movie work so well is the main character. She is incredibly likable. When anyone is treated as horribly as she is in many scenes in this film, we are automatically going to sympathize with her. While this movie does very much set up why should feel sorry for this character, as the film goes on, we feel much more than sympathy for this character. This character grows to feel very real to us and we get to see what a beautiful heart she truly has. There are many scenes in which you will want to walk into the screen and simply give her a hug. Because of this, we go on this whole emotional journey with her. This strong emotional connection is what makes this familiar story work very well here. This movie also benefits from some very well-done filmmaking. This can especially be seen during the final boxing match scene. I may have no interest in sports whatsoever, but this scene was so well done that I was glued to the screen.
As a boxing film this movie does follow the Rocky formula very closely (the Rocky theme is even heard during a train montage). While it does have a few surprises, it can also feel too familiar at times, like you have seen this all before. The movie also suffers from weak supporting characters, many who seem to only exist to make our main character miserable. These characters almost feel like over the top villains in a Saturday morning cartoon and this makes them feel a little too over the top for a movie that is supposed to be more realistic.
Despite its flaws, this is a very engaging and well-made sports film.
To many movie fans today, Kitty Carlisle is best known for being the leading lady in The Marx Brothers film, A Night at the Opera (1935). Fans of old TV will probably recognize her for appearing in tons of episodes of To Tell the Truth. She also worked with Bing Crosby in She Loves Me Not (1934) and Here is My Heart (1934). Much later she would appear in Woody Allen's Radio Days (1987), as well as Six Degrees of Separation (1993) and the made-for-TV movie Kojak: Flowers for Matty (1990).
The following is a 1935 article from Silver Screen about Kitty. If you have any trouble reading the following pages click on them and use your touch screen to zoom in.
Hello my friends and welcome back for another service of Cowboy Church.
Today's musical selection begins with Roy Rogers and Dale Evans with It is No Secret (What God Can Do). This song was written by cowboy singer and actor Stuart Hamblen. Before turning to God, this man's life could hardly be considered Godly. He often drank and fought, and this often landed him in jail. When in 1949 Hamblin went to a Billy Graham crusade, he turned his life over to God. The drinking and fighting were put behind him and his whole life changing. One day he was talking about this change to his good friend John Wayne (yes that John Wayne) and that it was no secret what God had done for him. John Wayne said that he should write a song with those lyrics. Stuart Hamblen had also had a brief movie career and appeared in the Roy Rogers film, The Arizona Kid (1939).
This is followed by Cowboy Copas with his 1956 with his recording of Don't Shake Hands with the Devil.
Afterwards is two more 1956 country gospel recordings, both from Cecil Campbell. So, enjoy I'm On The Right Road Now and Contentment.
Next is Johnny Cash performing, Truth. It had been assumed that this song was a poem written by Muhammad Ali that he had handed to John. However when House of Cash employee, Gregg Geller heard the song, he simply didn't think it sounded like one of Ali's poems and so he googled the first line of the song, which lead him to a website for Hazrat Inayat Khan. Khan was one of the leaders of the Universal Sufi movement in the early 20th century and among his writers was this poem in full. While Ali did in fact introduce John to the poem he did not write it himself.
Then comes The Carter Family with their 1941 recording of Keep on the Firing Line.
Next is Lorretta Lynn with If God Is Dead (Who's That Living In My Soul). This song was written by country singer Lawrence Reynolds. Reynolds biggest hit was Jesus is a Soul Man. This recording of the song comes from Lorretta's 1969 gospel album, The Gospel Spirit.
Afterwards is Jimmy Murphy with his 1963 recording of Wake Me Up Sweet Jesus.
Today's musical selection ends with The Sons of the Pioneers with Leaning on the Everlasting Arms. This hymn began with a man named Anthony Showalter. As a fan of gospel music and an elder in a Presbyterian church, he held many "singing schools" at various churches in the south. One day he received two letters from former students who were struggling after their wives had passed. To respond to these letters, Showalter consulted scripture. He came across Deuteronomy 33:27, "The eternal God is thy refuge, and underneath are the everlasting arms." After reading this verse lyrics for a song chorus went through his head and he wrote down, "“Leaning, leaning, safe and secure from all alarms; Leaning, leaning, leaning on the everlasting arms.” After using this in the letters to his former students he sent this chorus to his friend hymnist, Elisha Hoffman. In the letter he also wrote, “Here is the chorus for a good hymn from Deuteronomy 33:27, but I can’t come up with the verses.” Hoffman then wrote the rest of the lyrics to which Showalter put to music. The hymn was published in 1887. Tim Spencer sings lead on this recording.
Now for an episode of Gene Autry's radio show.
Now for a message from Billy Graham.
Make sure that nobody pays back wrong for wrong, but always strive to do what is good for each other and for everyone else. 1 Thessalonians 5:15
For the entire law is fulfilled in keeping this one command: “Love your neighbor as yourself.” Galatians 5:14
But love your enemies, do good to them, and lend to them without expecting to get anything back. Then your reward will be great, and you will be children of the Most High, because he is kind to the ungrateful and wicked. Luke 6:35
But who am I, and who are my people, that we should be able to give as generously as this? Everything comes from you, and we have given you only what comes from your hand. 1 Chronicles 29:14
But when you give to the needy, do not let your left hand know what your right hand is doing, so that your giving may be in secret. Then your Father, who sees what is done in secret, will reward you. Matthew 6:3-4
Now faith is the assurance of things hoped for, the conviction of things not seen. Hebrews 11:1
May the God of hope fill you with all joy and peace as you trust in him, so that you may overflow with hope by the power of the Holy Spirit. Romans 15:13
Trust in the Lord with all your heart, and do not lean on your own understanding. Proverbs 3:5
For by grace you have been saved through faith. And this is not your own doing; it is the gift of God, not a result of works, so that no one may boast. Ephesians 2:8-9
I pray that out of his glorious riches he may strengthen you with power through his Spirit in your inner being, so that Christ may dwell in your hearts through faith. And I pray that you, being rooted and established in love. Ephesians 3:16-17
Though you have not seen him, you love him; and even though you do not see him now, you believe in him and are filled with an inexpressible and glorious joy, for you are receiving the end result of your faith, the salvation of your souls. 1 Peter 1:8-9
Thanks for joining me. Come back next week for another service of Cowboy Church. Happy trails to you until we meet again.
As any fan of silent comedy knows, many silent comedies used a lot of great stunt work throughout, often putting the characters in dangerous situations. Easily the comedians most famous for using what is often referred to as thrill comedy are Harold Lloyd and Buster Keaton. However, they were far from the only ones. The following is a 1926 article from Motion Picture Classic that discusses this type of comedy.
If you have trouble reading the following pages, click on them and use your touch screen to zoom in.
Now enjoy Harold Lloyd in a classic thrill comedy, High and Dizzy (1920).
Hello my friends and happy Saturday morning. Once again it is time for some classic cartoons.
Today’s cartoon selection begins with Mighty Mouse in Triple Trouble (1948). This short film is a delightful parody of old melodramas.
Next we join Betty Boop and Bimbo in Minding the Baby (1931). This short film is part of the Talkartoon series before Betty got her own cartoon series. This marks the first time Betty's name appears above the title.
Continuing today's selection of classic cartoons is Popeye The Sailor Meets Sinbad The Sailor (1936). This is the first of the three Popeye two-reel specials (plus the first color Popeye) and one of the most popular Popeye cartoons. Running at 17 minutes this is twice as long as the usual Popeye film, yet the filmmakers work this to their full advantage. It never feels too long and the extra time lets the filmmakers put in a more atmospheric fantasy like feel to this cartoon. This would be the first Popeye nominated for an Academy Award and received the 17th spot in Jerry Beck's book, The 50 Greatest Cartoons. A review in The Film Daily called the cartoon "Top Notch." However not everybody was so impressed by this film as evidenced by the following Exhibitors reviews from The Motion Picture Herald. "Popeye the Sailor Meets Sinbad the Sailor: Popeye the Sailor series - Good color but did not bring extra business like Paramount said it would. -Fisher & Bichler, Mattray Theatre, Strasburg, N.D." "Popeye the Sailor Meets Sinbad the Sailor: Popeye the Sailor special - Worth twice as much as regular Popeye but no more. I paid more and that makes me a dissatisfied customer. - W. H. Brenner, Cozy Theatre, Winchester, Ind. General Patronage." "Popeye the Sailor Meets Sinbad the Sailor: Popeye the Sailor cartoons - This much Balley-hooed two-reeler, all color, third dimensional cartoon failed to come up to the entertainment value of the single reel black and white Popeye series. - M.R. Harrington, Avalon Theatre, Clatskanie, Ore. - Small Town and rural patronage."
Up next is Porky Pig in Timid Toreador (1940). This is one of the few Looney Tunes cartoons with two directors credited. The credited directors here are Bob Clampett and Norm McCabe. This is Norm McCabe's first director credit. The two would also share a director credit for Porky's Snooze Reel (1941).
Now it is time for a commercial break.
Now for a classic silent Aseop's Film Fables short, Anti-Fat (1927).
Next is a Toby the Pup cartoon, The Milkman (1931). While Charles Mintz was producing Krazy Kat cartoons for Columbia, he decided to create a separate series of cartoons for RKO, these starring a character named Toby the Pup. To head this series Mintz handed the duties to Dick Huemer, Art Davis and Sid Marcus. Dick Huemer had been a major contributor to the style of the Fleischer studio earlier and this is probably why these shorts have a Fleischer-type feel to them. Huemer, Davis and Marcus would later be the major creative factors for Columbia's Scrappy cartoons (also produced by Mintz).
Now for Mickey Mouse in The Barnyard Broadcast (1931). Radio had become incredibly popular by 1931 and was ripe for a cartoon parody. This short film pokes fun at many things about radio that many people watching this in movie theaters would recognize, including the NBC chimes, which had already become a signature for NBC.
As a huge country music fan, I can't think of a better way to end this post than with this country classic.
Thanks for joining me. Come back next week for more animated treasures until then may all your tunes be looney and your melodies merry.
Resources Used
The 50 Greatest Cartoons edited by Jerry Beck
Of Mice and Magic: A History of the American Animated Cartoon by Leonard Maltin
Looney Tunes and Merrie Melodies: A Complete Illustrated Guide to the Warner Brothers Cartoons by Jerry Beck and Will Friedwald
Walt Disney's Mickey Mouse: The Ultimate History by David Gerstein and J.B. Kaufman
