Hello my friends since I know many of you like me love both silent movies and TCM, here is a list of silent films playing on TCM this August. Since August is TCM's Summer Under the Stars, there is no Silent Sunday Night. However, Anita Paige and John Gilbert are two of the stars being celebrated, so some of their silent films will air.
Monday, August 12th
The Flying Fleet (1929) Director: George Hill. Starring Ramon Novarro and Anita Paige. 6am Pacific. 9am Eastern.
Speedway (1929) Director: Harry Beaumont. Starring William Haines and Anita Paige. 7:30am Pacific. 10:30am Eastern.
Our Dancing Daughters (1928) Director: Harry Beaumont. Starring Joan Crawford and Johnny Mack Brown. 10:30am Pacific. 1:30pm Eastern.
Our Modern Maidens (1929) Director: Jack Conway. Starring Joan Crawford and Rod La Rocque. 12pm Pacific. 3pm Eastern. Monday August 19th
The Show (1927) Director: Tod Browning. Starring John Gilbert and Renee Adoree. 6am Pacific. 9am Eastern. Bradley's the Magnificent (1926) Director: King Vidor. Starring John Gilbert and Eleanor Boardman. 12:15pm Pacific. 3:15pm Eastern. The Merry Widow (1925) Director: Erich Von Stroheim. Starring John Gilbert and Mae Murray. 2pm Pacific. 5pm Eastern.
A Woman of Affairs (1928) Director: Clerance Brown. Starring Greta Garbo and John Gilbert. 6:15pm Pacific. 9:15pm Eastern.
Love (1927) Director: Edmund Golding. Starring Great Garbo and John Gilbert. 8pm Pacific. 11pm Eastern.
Flesh and the Devil (1926) Director: Clerance Brown. Starring Great Garbo and John Gilbert. 9:30pm Pacific. 12am Eastern.
The Big Parade (1925) Director: King Vidor. Starring John Gilbert and Renee Adoree. 11:30pm Pacific. 2:30am Eastern.
Tuesday August 20th
La Boheme (1926) Director: King Vidor. Starring Lillian Gish and John Gilbert. 2:15am Pacific. 5:15am Eastern.
The Cossacks (1928) Director: George Hill. Starring John Gilbert and Renee Adoree. 4am Pacific. 7am Eastern.
I did not come into this movie with high hopes. I expected nothing more than a couple chuckles and a decent way to pass some time (which is honestly all I expect from most "chick flicks"). So, it is saying something that this film still fell far short of my expectations. Not only was this a bad movie, but it was one that I felt embarrassed for watching. This is another one of those modern lighthearted comedies starring actresses that have reached an older age. In most of these movies the star elevate material that is just as great as they are. Yet even the talents of Susan Sarandon, Bette Midler, Megan Mullally and Sheryl Lee Ralph can't salvage such a lousy and unfunny script. Rather than being charmed by their presence we simply feel embarrassed for them to appear in such a trainwreck. They try hard, in fact sometimes too hard but the film is still embarrassing. This movie is filled with jokes and silly situations from start to finish. However, there is not one laugh here. The movie goes from the cheapest and easiest laughs and even fails to deliver those. The gags revolve around these older women being sex obsessed, drug consuming, social media loving and immature. Unfortunately, there is little more to the humor than just this and these great actresses being reduced to embarrassingly over-the-top mugging. The characters in this film are complete and utter caricatures with nothing even slightly believable about them. This hurts the final act of this movie a lot, because it is then that the film wants you to take the romance and friendships somewhat seriously. But because the characters never feel real, it is impossible to do this. The main problem with these characters though is that there is little chemistry between them. This is a movie about the supposedly deep friendships these characters have with each other for decades. However, these characters never feel like they are truly best friends or that there is any connection deeper than them spending time together. This makes the whole storyline simply ring completely false.
Hello my friends and welcome back for another service of Cowboy Church.
Today's musical selection begins with Roy Rogers and Dale Evans with a wonderful version of the classic hymn, How Great Thou Art. In the book, Happy Trails: Our Life Story, Roy tells of a story that had to do with this song. "I'll tell you about one time we nearly got into a real war with the promoters: at the World Championship Rodeo at Madison Square Garden in 1952. During the first rehearsal I started to practice 'How Great Thou Art,' a religious song I wanted to make the centerpiece of our musical act. There's a line in that song that goes, 'Then sings my soul my Savior God to Thee...' Someone in the front office heard the rehearsal and came to me that night to tell me I wasn't allowed to mention Christ at the rodeo. 'It might work for the kids in Houston, Texas' he told me, 'But this is New York. You can't preach to kids here.' I told him I wasn't preaching but that the Savior was a part of the song and I fully intended to sing that song in New York or anywhere else we performed. They suggested that I could change the words of the song so it didn't mention Him. I'm not one for grandstand plays but I told those fellas that if I couldn't sing 'How Great thou Art' just how it was written, Dale and I would pack up and leave town. The song stayed in the show. That year we did forty-three performances over twenty-six days and broke all Madison Square Garden attendance records."
This is followed by Frank Luther and Carson Robison with their 1929 recording of Open Up Dem Pearly Gates for Me.
Then comes The Statler Brothers with Love Lifted Me. This hymn was written in 1912 by James Rowe and Howard E. Smith. Rowe's daughter would later state, “I can see them now, my father striding up and down humming a bar or two, and Howard E. playing it and jotting it down…The two huddled together, working line by line, bar by bar, composing this hymn in tandem.”
Afterwards is Ralph Stanley with Going Home into Green Pastures.
Today's musical selection begins with The Sons of the Pioneers with He Walks with the Wild and Lonely. This song was written by Bob Nolan, one of the founding members of the group and one of my personal favorite songwriters. When in a 1979 interview fellow cowboy singer and songwriter Stuart Hamblen asked Bob what he thought the best song he had written was, Bob answered that it was quite possibly this song. He explained why stating, "The lyrics and the music were so perfectly wed that I just couldn’t improve on it." This recording comes from the group's 1963 album, Hymns of the Cowboy.
Now for Ramblin' Jack Elliott with his wonderful recording of the Carter Family classic, Will the Circle Be Unbroken.
Afterwards is Arlo Guthrie with a live version of Amazing Grace.
Today's musical selection ends with Anne Wilson and Chris Tomlin with The Cross. This comes from Anne's most recent album, 2024's Rebel.
Now for the debut episode of Gene Autry's TV show.
Now for the C.S. Lewis essay, Myth Became Fact.
There is no fear in love, but perfect love casts out fear. For fear has to do with punishment, and whoever fears has not been perfected in love. 1 John 4:18
Even though I walk through the darkest valley,I will fear no evil, for you are with me; your rod and your staff, they comfort me. Psalms 23:4
Be strong and courageous. Do not be afraid or terrified because of them, for the LORD your God goes with you; he will never leave you nor forsake you. Deuteronomy 31:6
I sought the LORD, and he answered me; he delivered me from all my fears. Psalms 34:4
Peace I leave with you; my peace I give you. I do not give to you as the world gives. Do not let your hearts be troubled and do not be afraid. John 14:27
Have I not commanded you? Be strong and courageous. Do not be afraid; do not be discouraged, for the LORD your God will be with you wherever you go. Joshua 1:9
But now, this is what the LORD says— he who created you, Jacob, he who formed you, Israel: “Do not fear, for I have redeemed you; I have summoned you by name; you are mine." Isaiah 43:1
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 one of the best World War 2 era Warner Brothers cartoons, Plane Daffy (1944). This short was directed by Frank Tashlin, who was an avid movie buffs that would go on to direct many live action films. Due to his directing this is an extremely cinematic cartoon full of masterful filmmaking that many directors of feature length films would be jealous of. The opening scenes of this short is also a reference to the Howard Hawks movie Dawn Patrol (1930). While Mel Blanc provides the voice of Daffy here, the villainous Hatta Mari is voiced by Sara Berner and Robert C. Bruce (who narrated some of Tex Avery's spot gag cartoons for Warners) is the narrator. This short is rightfully featured in Jerry Beck's great book, The 100 Greatest Looney Tunes.
Now for a delightful UPA cartoon, The Rise of Duton Lang (1955).
Before Pluto received his own cartoon series, he made a couple short films without Mickey that were released as Silly Symphonies. These were Just Dogs (1932) and Mother Pluto (1936). Up next is the first of these, Just Dogs. In this movie, the animation of Pluto is mostly split between two animators, Norm Ferguson and Tom Palmer. However, Les Clark animates a brief scene were Pluto and the little pup hide in a barrel and Dick Lundy animates them digging up the bone. The pup Pluto costars with did not appear in any other animated cartoons, but Floyd Gottfredson would use him in the Mickey Mouse newspaper comic strip. A song used early on in this movie is Guy Massey's The Prisoners' Song. This song was prominently used in the Mickey Mouse cartoon, The Chain Gang (1930), which many people believe is the first appearance of Pluto. A review in Motion Picture Reviews stated, "Amusing for Children but not up to the usual Disney standard." A review in The Film Daily disagreed stating, "Right up to the standard of the Walt Disney shops [sic]" The following are two exhibitor's reviews from The Motion Picture Herald, "JUST DOGS: Silly Symphony—This is a fairly good cartoon comedy but still no better than some of the others. United Artists should produce better cartoons or cut the price of these cartoons. Here's hoping to get better cartoons in the future from United Artists. Running time 9 minutes. -J.J. Medford, Orpheum Theatre, N.C. General Patronage." " JUST DOGS: Silly Symphony—Didn't think that this was any too good. - Mayme P. Musselman, Princess Theatre, Lincoln, Kansas, Small Town Patronage." Working titles for this movie were The Dog Pound and The Dog Symphony.
Next, we join Little Roquefort in The Cat's Revenge (1954).
Now it is time for a commercial break.
Next comes Bugs Bunny in Bewitched Bunny (1954). This short film marks the debut of a new Bugs Bunny villain, Witch Hazel. In this film she is voiced by Bea Benaderet, who would later become the voice of Betty Rubble on The Flintstones. In later cartoons, June Foray would be the voice of the character (June Foray had also voiced a character named Witch Hazel in the Disney Donald Duck cartoon, Trick or Treat (1952)).
Next comes the only Betty Boop cartoon in color, Poor Cinderella (1934). As you can see here despite much merchandise today picturing Betty as having black hair, this cartoon shows her to be a redhead instead. This movie is also the odd man out when it comes to Betty Boop films for another reason as well. This is because the cartoon is in many ways a more serious picture that is actually intent on telling a somewhat straightforward version of this classic fairytale (perhaps it is appropriate that this is part of the Color Classics series instead of the regular Betty Boop series). This cartoon also features an original song, and this song was published as sheet music as well as appearing in this cartoon. Film historian and critic Leonard Maltin states that Mae Questel (the usual voice of Betty) was not used here for the song, but another singer was used instead. I do not know who this other singer is so if any of you do, please let me know. The following are two exhibitor's reviews from the Motion Picture Herald. "POOR CINDERELLA: Betty Boop— Betty Boop in the best example of color cartoon work we have had. Running Time, 10 Minutes. - M.P. Foster, Granada Theatre, Monte Vista, Colo. General Patronage." "POOR CINDERELLA: Betty Boop Cartoon— First of Paramount's colored cartoons and it is a wonderful creation. Look for the third dimensional allusion [sic]. If the rest of Paramount's colored cartoons come up to this one everybody will be satisfied. - L.G. Tewksbury, Opera House, Stonington, Maine. Small Town Patronage."
Now it is time for a silent era cartoon starring Farmer Alfalfa, The Miller and His Donkey (1922).
Now to sing along with a song we all know.
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
100 Greatest Looney Tunes edited by Jerry Beck
Walt Disney's Silly Symphonies: A Companion to the Classic Cartoon Series by Russell Merritt and J.B. Kaufman
Third time is definitely the charm for the Deadpool movies as this is the best one yet.
In many ways the story is pretty standard stuff for superhero films, but it is told very well and even has some surprisingly heartfelt moments. Still, no one comes to this film for the story. They mainly come from the characters, the humor and the action. All of these are simply wonderful here. Deadpool and Wolverine work so well as a duo that you may wish these two teamed up earlier. The differences in these two's personalities make for some wonderful comedic moments. Wolverine works so well as a straight man to Deadpool's obnoxiousness because unlike most straight men, who won't take any of Deadpool's crap. And being that Deadpool can't die allows Logan (Wolverine's real name) to take all the anger he wants to out on Deadpool, while still playing the moments for comedic effect. I personally feel Deadpool's comedy works best when he has good characters to play off of (which is partly why I prefer the second Deadpool movie over the first). Wolverine is simply the best character that the movie version of Deadpool has had yet in this regard. Yet the relationship between the two is more than just comedic. There are actually some very touching and heartfelt moments between these two foul mouthed superheroes. Over the course of the film, they really do grow a bond that has a real heart behind it. All of this is helped by the wonderful chemistry between Ryan Renyolds and Hugh Jackman, who seem to have the time of their lives working together. The humor in this movie is truly laugh out loud funny. While the previous two films each had some truly hilarious scenes, this movie hardly has any jokes that miss. You could argue that there are funnier scenes in the first two films, but this movie has the strongest ratio of jokes that hit over ones that don't. The whole audience was laughing out loud throughout nearly the whole movie. This is quite rare for a 2-hour film to remain this funny for its whole length (note that most of the great comedies are under an hour and a half). The comedy here wonderfully mixes juvenile sexual humor with smart and clever meta-humor (there are a lot of references to Disney buying Fox). If one gag isn't to your liking, there are six more that will make you laugh out loud. Meanwhile the action is wonderful as ever. For anyone worried that Disney was going to tone down this aspect of Deadpool, luckily this was not the case. There is as much over the top gore as you could possibly hope for. All of it is way too over the top to be gross or disturbing. Instead, it is just pure R-Rated fun. This movie also benefits from a very strong villain, who is a lot of fun and can truly feel like a real threat to heroes who can't die.
Underneath all of this over-the-top R rated fun, this movie also serves as a wonderful tribute to all of the 20th Century Fox Marvel movies as a part of superhero cinema that has sadly come to a close. This is not only shown in the number of great cameos, but also in the overall tone of the film. While it may make fun of these movies, you can tell underneath that the filmmakers have a real respect for them.
This movie was directed by Shawn Levy who had previously worked with Ryan Reynolds on Free Guy (2021) and The Adam Project (2022). His other work includes the Night in the Museum trilogy (2006, 2009, 2014), Big Fat Liar (2002), Cheaper by the Dozen (2003), The Pink Panther (2006) and Date Night (2010). This is his first but hopefully not last superhero film.
It is important to watch this movie with as large of an audience as possible. The sold-out theater audience I saw this with were laughing and cheering all the way through. That feel was simply contagious and made it impossible not to have a great time. This is a perfect crowd pleaser.
This film tells the story of Barbe-Nicole Ponsardin Clicquot, a woman who inherited a wine vineyard from her deceased husband and turned it into one of the most successful wine vineyards in the world.
This is an incredible looking movie. Nearly every scene in this film is visually beautiful to look at. Shot on location in France, this movie perfectly captures the beauty of the French countryside in a way that makes us feel like we are taking a trip there ourselves. This film also uses some very creative storytelling devices as it cuts back and forth between her running the wine business with scenes of her earlier marriage. It is also very clever how at first these flashbacks show this marriage as perfectly idyllic while later flashbacks show that it was often anything but. This works especially well as she develops a new romance later in the film. The movie also benefits from a great performance from Haley Bennett, who adds a lot of humanity to this underwritten character.
However, even with all the elements in its favor, this is a very standard biopic. There is nothing about the storyline that we have seen in a million movies before this. These is your typical someone people doubted proves themselves by being very successful despite all odds movie. Our main character is fierce, independent and determined. This makes it easy for us to admire her. What is hard though is relating to her. Despite these elements and details of her romantic life, we never really get to know who she is as a person. This movie also suffers from a 90-minute runtime. With this brief of a runtime, we are not allowed to get to know who any of these characters really are as the story often jumps from plot point to plot point.
While there is enough to enjoy this movie, there is little doubt that you will forget about it a month or so.
2008 may be the most important year for superhero films in this year both The Dark Knight and Iron Man came out. Iron Man gave birth to the MCU and began the concept of a connected cinematic universe. Meanwhile The Dark Knight showed that superhero movies do not have to be made with kids in mind. While this film receives a PG-13 rating, there is little to nothing in this dark and disturbing film for younger Batman fans. This is obviously a pre-cursor to many adult-aimed superhero movies including those with an R rating. Roger Ebert stated, "This film, and to a lesser degree 'Iron Man,' redefine the possibilities of the 'comic-book movie.'" It is hard to argue with Ebert's comment.
In this film after proving himself to many in Batman Begins(2005), Batman must now face a threat like he has never known before. Gotham is being terrorized by a new villain in clown make-up known as The Joker. The only method to Joker's madness is madness itself. Meanwhile the new distract attorney Harvey Dent is providing the city with new hope and giving Bruce Wayne the hope that one day he may not have to be Batman anymore. Hoping to make Gotham descend into pure madness, The Joker sets his sights on Harvey.
With his second Batman film, director and co-writer Christopher Nolan (along with his co-writer and brother Jonathan Nolan) delves into everything that made his first movie stand out and expands on it. Doing this he creates one of the best Batman films. This movie is darker and gritter than the first film. It also sets the action in a much more realistically grounded world. This movie takes Batman into a post-9-11 America world, brilliantly reflecting the fears and anxieties of a modern world. Nolan also expands upon the first film's exploration of what Batman should stand for. While Batman Begins shows that Batman must be a symbol to inspire Gotham. Yet here, Bruce begins to question whether or not he has inspired Gotham in a good way. There are scenes with various Gotham citizens dressing up as Batman and trying to take the law into their own hands. The scene where the Joker interrogates one of these citizens is chilling and really makes us question whether Batman is truly the best solution to Gotham's corruption. Though Batman is clearly the hero of this movie, he is not always morally correct. Towards the climax he has one action that is extremely morally questionable. This creates something more complex than your average superhero film; while never having you turn against the hero.
Much has been made of Heath Ledger's performance as The Joker. Beforehand many doubted that Ledger could pull off this character. Yet when the film came out his performance was almost universally praised. The fact that Ledger had died at the age of 28 before the film's release helped give this performance an almost mythical quality for many. Watching this film today, his performance is just as wonderful. While his interpretation of The Joker differs quite a bit from the comic book character, he is incredibly dynamic, and he commands the screen whenever he is on. Yet I feel it is unfortunate that Ledger's performance tends to overshadow Aaron Eckhart as Harvey Dent and Two-Face. To me he is the dark beating heart that drives this movie and Eckhart's performance is simply incredible. This character and the great performance by Eckhart help drive this movie to something greater, more powerful and more tragic than your average superhero film.
This movie was a greater hit than anyone could have imagined. It became the highest grossing movie of 2008. At the time it was the fourth highest grossing movie ever and the highest grossing superhero film. It stand the test of time and is still a masterpiece making not only one of the best Batman movies but one of Nolan's best films.
With a filmography that includes Hands Across the Table (1935), The Awful Truth (1937), Carefree (1938), His Girl Friday (1940), Rosemary's Baby (1968), Oh, God! (1977) and Pretty Woman (1990), Ralph Bellamy is an actor that is very familiar to pretty much any classic film buff. He is also an actor who makes any film he is in better simply by being in it.
Below is a 1937 article from Hollywood magazine about this wonderful actor. If you have any trouble reading the pages below, 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 singing In the Sweet By and By. This song came about because of a friendship between composer, Joseph Webster and poet, Dr. Sanford Fillmore Bennett. One day Webster was depressed and Dr. Bennett recognized this. Dr. Bennett asked his friend what was wrong. Webster replied, "Oh nothing. Everything will be alright by and by." These words brought up an idea in Bennett and he wrote down three verses and a chorus to this song as soon as he could. He handed it to his friend saying, “Here is your prescription, Joe.” Webster loved the lyrics and wrote music for them in practically no time at all. Dr. Bennett later said, “It was not over thirty minutes from the time I took my pen to write the words before two friends with Webster and myself were singing the hymn.” The hymn was first published in 1868 and went on to great fame since.
This is followed by The Weavers with When the Saints Go Marching In.
Afterwards is The Frank Luther Trio with their 1933 recording of When I Take My Vacation in Heaven. This song was written by Herbert Buffmun, a Pentecostal Evangelist who lived from 1879 to 1939. Writing gospel music was a passionate hobby for him and he is said to have written around 10,000 songs with around 1,000 of them being published. Ripley's Believe It or Not claimed that he once wrote 12 songs in one hour. However songwriting can hardly be said to have made a living for him. Most of his songs were sold for $5 or even less. This did not stop The Los Angles Time from calling him, “The King of Gospel Song Writers” upon his death.
Personal Jesus is an example of how a song can take on a meaning to a listener that the author did not intend. Johnny Cash said that this was a song he wished that he had wrote. He felt it summarized perfectly man's relationship with God. That Jesus is always willing to forgive and have a relationship with anyone who desires to know him. Yet this when Martin Gore had originally written this song, he did not intend it to be actually about the Christian faith. He wrote it after having read Pricillia Presley's book Elvis and Me. Gore would state, "It's a song about being a Jesus for somebody else. It's about how Elvis was her man and her mentor and how often that happens in love relationships."
Next is Kenny Roberts and Tommy Sosebee with their 1951 recording of Its Great to be a Christian.
Then comes Hank Williams Jr. with Wrapped Up, Tangled Up in Jesus (God's Got It). This recording comes from his 2016 album, It's About Time.
Afterwards is Anne Wilson with Still God. This song comes from her first album, 2022's My Jesus.
Today's musical selection ends with The Sons of the Pioneers with their 1948 recording of The Old Rugged Cross.The song itself 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.
Now for a message from S.M. Lockridge.
Now for an episode of the Lone Ranger radio show.
And let the peace of Christ rule in your hearts, to which indeed you were called in one body. And be thankful. Colossians 3:15
Blessed are the peacemakers, for they shall be called sons of God. Matthew 5:9
There is no fear in love, but perfect love casts out fear. For fear has to do with punishment, and whoever fears has not been perfected in love. 1 John 4:18
I sought the Lord, and he answered me and delivered me from all my fears. Psalm 34:4
Though an army besiege me, my heart will not fear; though war break out against me, even then I will be confident. Psalms 27:3
Be strong and courageous. Do not be afraid or terrified because of them, for the LORD your God goes with you; he will never leave you nor forsake you. Deuteronomy 31:6
Have I not commanded you? Be strong and courageous. Do not be afraid; do not be discouraged, for the LORD your God will be with you wherever you go. Joshua 1:9
When anxiety was great within me, your consolation brought me joy. Psalms 94:19
For I am the LORD your God who takes hold of your right hand and says to you, Do not fear; I will help you. Isaiah 41:13
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 starts with an early Tex Avery classic, Egghead Rides Again (1937). Despite the title this is actually Egghead's first cartoon. In later appearances Egghead would have a voice that was based off of radio comedian Joe Penner. However in this short his voice is more similar to an early Daffy Duck. Daffy actually made his film debut earlier the same year with Porky's Duck Hunt (1937).
Toby Tortoise Returns (1936) is maybe my favorite Silly Symphony cartoon. Like many great comedy shorts the story for this cartoon is extremely simple. Max Hare and Toby Tortoise (returning from the earlier Symphony, Tortoise and the Hare (1935)) fight each other in a boxing match. This leads to some amazingly good slapstick. Again, those who think of Disney cartoons as cute and sweet while Warners cartoons were wacky and funny might be surprised to see this film. This cartoon in fact even resembles a Looney Tunes or Merrie Melody from this time period. The slapstick is fast and furious and there is a real wise guy tone to much of the humor. The idea itself came from Ward Kimball, an animator who had joined the studio a year earlier. Ward would soon become one of Walt’s favorite animators and a major asset for the studio’s animated films. Ward is hugely known by Disney buffs today as one of the studio’s most comedic animators, so it comes as no surprise that he would suggest the story for one of the studio’s funniest cartoons. As well as coming up with the story Ward also was one of the film’s animators. One of the scenes he animated was early in the film where the referee is introducing the fighters. There are no real jokes here, but the animation itself is quite funny. The character doesn’t look funny, but he moves funny. This is something that is much more important to animated comedies. This over the top and quite funny animation sets you up perfectly for the slapstick you are about to see. This cartoon is in fact full of fantastic slapstick comedy. The part with the water was mostly animated by Bob Stokes. The fireworks section was animated by Dick Huemer with the exception of the tiny bit where Max blows out of the ring and into the ambulance, which was animated by Jack Hannah. What all three of these animators understood was using speed for comic effect. This kind of speed was fairly new to cartoons and while Tortoise and the Hare mastered animating speed, this film masters using this type of animation to its full comic potential. Another delight in this cartoon is the use of other characters from Silly Symphonies cartoons in the audience. Just as it is fun for movie buffs to spot all the stars in Mickey’s Gala Premiere (1933), it is fun for cartoon buffs to catch all the cartoon characters seen here. A review in The Film Daily stated, "Aside from the loud laughs, its beautifully done in Technicolor."
Next comes the Terry Toons short, The First Flying Fish (1955).
Next comes Krazy Kat in Port Whines (1929). One of the animators on this short film was future Looney Tunes director and Pink Panther producer Friz Freleng. This marked the third sound Krazy Kat cartoon. Though in time Columbia would change Krazy into a Mickey Mouse lookalike, here he still looks more like he did in George Herriman's classic comic strip (which the character was created for). However, the film itself much more closely resembles a Disney cartoon of the time than the comic strip. Animator Harry Love later remarked about working on this series of cartoons for Columbia, "Whenever a Disney cartoon was playing in a theater, we'd go in and pay just to see the cartoon and study it. See what we could steal and everything."
Now it is time for a commercial break.
Next comes a classic UPA short, Willie the Kid (1952). This is an incredibly charming little film and one of my favorite UPA shorts. This short was directed by Robert "Bobe" Cannon, one of my favorite UPA directors. He had previously been an animator for both Chuck Jones and Bob Clampett's units at Warner Brothers and even Tex Avery at MGM. He even worked on the Disney feature film, Melody Time (1948). As a director he made some of the best UPA shorts including one of the studio's most famous films, Gerald McBoing-Boing (1950).
Up next is Sylvester and Tweety in Muzzle Tough (1954). About the Sylvester and Tweety cartoons, director Friz Freleng stated, "Tweety doesn't do anything. He can't even put a hat on because his arms are too short. And he's got such a bug head. The comedy comes out of Sylvester and his determination, his stubbornness to get the bird no matter what happens to him. Still, everybody says, 'Oh I love that Tweety.' Audiences are funny. They never love the characters that really get the laughs." Despite Friz's comments Tweety does have some pretty funny lines in this film.
Now for a silent cartoon starring the Katzenjammer Kids, The Heathen Benefit (1918).
In tribute to a great comedic talent that had recently passed away, let us end today's cartoon selection with Bob Newhart's cameo on The Simpsons.
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
Of Mice and Magic: A History of the American Animated Cartoon by Leonard Maltin
I Tawt I Taw a Puddy Tat: Fifty Years of Sylvester and Tweety by Jerry Beck.
Walt Disney's Silly Symphonies: A Companion to the Classic Cartoon Series by Russell Merritt and J.B. Kaufman
Earlier this year came out one of the greatest treats for silent comedy fans in a long time. This was KINO's magnificent Vitagraph Comedies Blu-Ray. This is a pure treasure trove for movie buffs exploring areas of silent film comedy that go too often overlooked. Even the most avid silent film fans will find treasures here that they may not have even known existed. I especially enjoyed watching the comedies of Frank Daniels, Mr. and Mrs. Sidney Drew and even a short starring the comedy team Montgomery and Rock. I was not very familiar with any of these great comedians before this set. Yet watching their comedies immediately brought a smile to my face and gave me great sense of discovery and joy. Not only did these films make me smile but they even made me laugh out loud a few times. It was also wonderful to see Edith Stoney's great comedy work. I was mostly familiar with her from other genres, and it was a delight to see that she could be a wonderful slapstick comedian. Though I was already quite familiar with their work, it was wonderful revisiting the work of John Bunny and Larry Semon. Semon has a special place in my heart as he was one of my introductions to silent comedy, thanks to various Laurel and Hardy public domain DVDs (both Stan Laurel and Oliver Hardy had worked with Semon though not at the same time and this caused many of his shorts to appear on these DVDs). This set is full of so many rarities that it is a must have for avid silent comedy collectors. Yet the shorts are more than entertaining enough for newcomers to enjoy. As well as all these wonderful films, this 3 Disc set is loaded with very informative bonus features.
Though the DVD set, Industrial Strength Keaton came out in 2006, I have just discovered this delightful set. It is full of Buster Keaton rarities from the silent era to the talkie era to TV. Not everything on here may be a gem (the talkie feature An Old Spanish Custom (1936) is definitely not one of the comedian's strongest movies). However, everything on here will have an immense interest to Keaton's many devoted followers. It is especially fascinating to watch him do multiple versions of the molasses comedy sketch. He had done this gag in his first film appearance, The Butcher Boy (1917) and would continue to do it throughout his later TV years. His various TV commercials and cameo appearances in rare short subjects are also a delight to Keaton fans who think they have seen everything. Making this set even more of a delight is the inclusion of a classic Keaton silent short, The Playhouse (1921).
I re-watched the first Twister (1996), not too long ago. However, I can hardly remember much that happened or any of the characters. Despite this I remember enjoying it as a rewatched it. Personally I feel like in time this film will have the same effect on me. I'll remember that I enjoyed watching it and little else. The truth is there is very little that this movie actually does wrong. It just doesn't do much to make it stand out from so many similar movies. Everything is done just fine and little more. The characters are likable, and it is pleasant to spend time with them. However, they are very basic characters that we never get to know that deeply. The action is fun and exciting, but there isn't a whole lot of it, and it doesn't do much to stand above the average good modern action scene. The humor makes you smile, but never laugh out loud. The story is predictable and cliché but isn't without some heart. The small town, rural setting and the use of country music on the soundtrack help give this movie a little extra charm that I really enjoyed.
All in all this may not be the most memorable film, but it provides a fun time at the movies and sometimes that is all you need.
It is no secret that often today, romance movies can be the most formulaic and predictable films out there. That is why I always greatly appreciate when a new romantic movie comes out that doesn't just simply follow the basic formula. Touch is luckily one of those films. The storyline centers around a man from Icelandic man who reaching old age decides to go to Japan and try and find a woman he is still very much in love with. These scenes are interspliced with the story of the two meeting when they were young. At first, you may not connect that these are the same characters but honestly it won't take long to do so. And that is something that is even true for those who may often have a hard time following movies. The scenes are put together in a very effective way that makes the story more emotional than if it was told in a more traditional way. While the filmmakers may not do anything to call attention to the fact there is a flashback coming (with one exception towards the end) each of the modern scenes is emotionally connected with many of the past scenes. This makes the film flow from past to present seamlessly and in a way that doesn't just feel like a filmmaker trying to be experimental or artsy. This storytelling technique also helps us unravel, everything that is going on in the modern scenes little by little. This helps keep us perfectly engaged both emotionally and intellectually, while being perfectly accessible to a mainstream audience.
This movie also benefits from a simply beautiful story. The romance is perfectly realized, and we feel as if we are truly seeing two people fall in love. There is nothing fake or Hollywood like about this romance, it simply feels like we are watching this play out between real people in real life. This is both due to an incredible script and the great chemistry between Palmi Kormaku and Kōki as two young lovers in the flashbacks. Yet the film also simply makes us care about these characters both as a couple and as individuals. Not only does their romance feel real to us but they feel completely real to us. The story also has enough twists and turns to keep us engaged, while not taken away from the realism this movie sets out to (and successfully does) create. Meanwhile this movie also has some incredible smart social commentary that fits perfectly into the story while never distracting from it.
This is a return to form for Icelandic director Baltasar Kormákur after the truly awful Beast (2022). It is a true must see.
Some clever touches help elevate what in many ways is a typical rom-com.
Though in many ways this is another formulaic romantic comedy, its setting and how it combines some real-life history of the moon landing with a fictional story makes it a fun time at the movies. This movie plays with many aspects of the moon landing for satirical effect. However, what makes it work is that underneath all these satirical moments, the filmmakers obviously have the utmost respect for the men and woman, who made such a feat possible. In fact, underneath all the comedy and romance there are few surpassingly touching scenes about the astronauts that didn't make it. These scenes pulled at my heartstrings in a way I didn't see coming. Some of the humor can fall flat, but the jokes that work are truly funny. There were actually sometimes watching this that I laughed out loud. This is also a very handsome looking movie that uses its 1960's setting to its full advantage.
The two main characters here are very likable. We grow to care about them and what they care about. They are also both very well played by Channing Tatum and Scarlett Johansson, who both bring a charisma to these characters. However, the chemistry between them is not as strong as it should be in a rom-com.
Despite its unique setting, this movie very much follows the conventions of your typical rom-com. Because of this it is very easy to see what will happen next in any given scene. This film is also quite a bit longer than it needs to be and there are times in the middle section where it can drag a little.
This rom-com may not be a new classic for the genre but it does provide a fun time at the movies. And that is exactly what people want from a film like this.
This is the first segment of the eighth episode of The All-New Super Friends Hour, unlike most other Super Friends formats, this one had hour long episodes that were made up of various shorter cartoons. The first segment would be an adventure staring two members (or three in some cases as Batman and Robin would often team with another Super Friend) of the Super Friends. The second would be a morality play staring the Wonder Twins. The third would be a typical half hour Super Friends adventure. The fourth and last segment would feature one of the main Super Friends teaming up with a special DC Comics guest star.
In this cartoon Superman and Aquaman team up to save Professor Fairweather from the evil Captain Nemus. This may be more difficult than they bargained for when Captain Nemus gets a hold of the professor's invisible ray.
This is a very fun cartoon. Captain Nemus is wonderfully fun villain. He is over the top evil in the best cartoon-y way. This episode also does a great job of making Nemus seem like a threat to our superpowered heroes. The invisibility idea is used very well especially with the invisible whale. This leads to some great action scenes and a good sense of suspense. The final action scene is especially a lot of fun. This cartoon also finds delightful ways to use both of our heroes in an effective way. The simplicity of the story only adds to the fun. This is the type of simple quick and fun superhero adventure that is sadly becoming rarer these days. There is not a single moment in this short that is not a whole lot of fun. The cartoon also benefits from some of the wonderful background artwork that appeared in all Hanna-Barbera cartoons of this time. The underwater scenes are especially great in this regard.
This is the second segment of the seventh episode of The All-New Super Friends Hour, unlike most other Super Friends formats, this one had hour long episodes that were made up of various shorter cartoons. The first segment would be an adventure staring two members (or three in some cases as Batman and Robin would often team with another Super Friend) of the Super Friends. The second would be a morality play staring the Wonder Twins. The third would be a typical half hour Super Friends adventure. The fourth and last segment would feature one of the main Super Friends teaming up with a special DC Comics guest star.
In this cartoon two teenagers go out into dangerous waters and meet up with a shark. The Wonder Twins must save them.
This is another lame Wonder Twins cartoon. The storyline is simply an excuse to communicate a very simplistic message to young kids. Little happens in this cartoon despite that. Once again, this short is low on action and fun, but high on teaching kids a moral. As such, outside of some great artwork, this holds little intrest to superhero fans, whose ages are in the double digits.
Note: This film has been placed back in theaters briefly. Though I missed the movie when it first came out, I was able to be introduced to this documentary on the big screen, which is the best way to see it.
An excellent documentary about one of the most iconic rock bands of the 1990's.
This movie takes a wonderful approach to the rock and roll documentary. Rather than having your typical narrator, this film has all of the offscreen talking done by the band, those they toured with and family members. The film also completely revolves around the first few years of the band, from their start to the height of their popularity. Both of these make this movie something truly special. Listening to the band tell us the story themselves is a wonderful idea. It helps make this film feel like something more up close and personal than the average rock-doc. As we watch this movie, we get to feel like we get to truly know who these people are. It also gives the film a real sense of honesty as none of their flaws are hidden from us. Their egos, the arguments between the two brothers at the front of the band and their tempers are all on full display here. Yet at the same time, this is far from a fully negative portrait of thew group. We also see that they are a band that truly appreciates their fans and goes out of their way to make sure that their audience gets the best they can give them. As such this becomes a complex portrait of not only major rock stars but also real human beings. At the same time, their music is often front and center. Listening to their music here, it is very easy to understand why they become so popular, it is truly wonderful. It is shown to its best effect here and this film is truly a treat for the ears. This movie uses many rarely seen (well before the film was released) live footage of the band in concert. These are true gems and help give one the idea of just what incredible shows this band put on at the height of their powers. I always feel that the best compliment that a music documentary can be given is that someone who is unfamiliar with the band, would become a fan after watching. With this delightful rock-doc, I can fully see this happening.
Mat Whitecross, this movie's director, has had a career that has revolved around rock and roll. His career began with an art film entitled 9 Songs (2004); a movie whose story revolves around nine different rock songs heard throughout. He also directed the Ian Duray biopic Sex & Drugs & Rock & Roll (2010) and the rock-docs Scott Walker: 30 Century Man (2006) and Coldplay: A Head Full of Dreams (2018) as well as the Coldplay concert film, Live in São Paulo (2018). Away from movies, he has also directed music videos for Pink Floyd, Coldplay, Take That and The Rolling Stones.
Oasis: Supersonic is a wonderful treat for all rock and roll fans.
Hello, my friends and welcome back for another service of Cowboy Church.
Today's musical selection begins with Roy Rogers and Dale Evans with Whispering Hope. This beautiful hymn comes from the pen of Alice Hawthorne (the pen name for poet Septimus Winner), who is best known for her contributions to children's music with songs like, Where, Oh Where Has My Little Dog Gone? and Ten Little Indians.
This is followed Bill Carlisle's 1947 recording of Shine Your Light to Others. This song was written by his brother and popular country singer, Cliff Carlisle.
Afterwards is Washington Phillips with his 1927 recording of Mother's Last Word to Her Son.
Then comes Johnny Cash with I Call Him. The song was written by John himself and comes from his 1959 gospel album, Hymns By Johnny Cash. This was John's second album for Columbia records. John would state that his main reason for leaving Sun Records and moving to Columbia is because producer Sam Phillips would not allow him to record a gospel album. This was especially important to John because he never set out to be a country singer or a rock and roll singer, but a gospel singer. Therefore, it should come as no surprise that as soon as he left Sun, he would set out to make a gospel record. Hymns By Johnny Cash became his first of many gospel albums and proved to be a success with his fans.
Next comes Frank Luther with his 1929 recording of Will the Angels Play Their Harps for Me.
Now for Anne Wilson and Jordan Davis with Country Gold. This recording comes from her most recent album, 2024's Rebel.
This is followed by Gene Autry and Dinah Shore with their 1950 recording of In The Garden. This song was written by C. Austin Miles (who also wrote Dwelling in Beulah Land). As well as a hymnist, Austin's hobby was photography. He wrote this song in 1912 while waiting some film to dry in a cold and leaky basement. Miles had discovered earlier that he could read the bible in the red lighting of his darkroom and often did. This day he was reading John 20. He read about how Mary went into the garden to see Jesus' tomb. Her heart was full of sadness, but when she learned that Jesus had overcome the grave she was moved to great joy. This passage moved Miles as he read it, and this song started to come to him. Miles originally intended this song to be an Easter song and for it to be from the point of view of Mary Magdalene. Miles would later say about this song, “This is not an experience limited to a happening almost 2,000 years ago. It is the daily companionship with the Lord that makes up the Christian’s life.” Learning this story has made this song all the more powerful for me and I hope it enhances the power of this great hymn for you as well. The same day Gene and Dinah recorded this song (April 20, 1950), they also recorded a lovey version of The Old Rugged Cross.
Today's musical selection ends with The Sons of the Pioneers with their 1948 recording of The Old Rugged Cross. The song itself 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.
Now for an episode of Roy Rogers' TV show.
Now for a message from the Reverand Billy Graham.
Peace I leave with you; my peace I give to you. Not as the world gives do I give to you. Let not your hearts be troubled, neither let them be afraid. John 14:27
Finally, brothers and sisters, rejoice! Strive for full restoration, encourage one another, be of one mind, live in peace. And the God of love and peace will be with you. 2 Corinthians 13:11
They must turn from evil and do good; they must seek peace and pursue it. 1 Peter 3:11
And let us not grow weary of doing good, for in due season we will reap, if we do not give up. Galatians 6:9
Teach me your way, LORD, that I may rely on your faithfulness; give me an undivided heart, that I may fear your name. Psalms 86:11
Give careful thought to the paths for your feet and be steadfast in all your ways. Proverbs 4:26
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
Likewise the Spirit helps us in our weakness. For we do not know what to pray for as we ought, but the Spirit himself intercedes for us with groanings too deep for words. Romans 8:26
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 an all-time classic, Bugs Bunny Rides Again (1948). This short film marks the third face-off between, Bugs Bunny and Yosemite Sam and one of the best. This movie offers one great gag after another and is simply a delight from start to finish.
Next up comes a great early Mickey Mouse cartoon, Mickey's Follies (1929). This cartoon brought about the first original song written for a Disney cartoon, Minnie's Yoo Hoo and Mickey ends the cartoon singing it himself. An instrumental version of this song would become the main theme for the Mickey Mouse cartoons through 1933. Singing this song would also become a ritual at the various Mickey Mouse clubs that formed in neighborhood theaters starting in 1929. Walt would create a sing along short of the song simply called Minnie's Yoo-Hoo (1930).
Now we join the Terry Bears in Pet Problems (1954).
Next is Oswald the Lucky Rabbit in Snappy Salesman (1930). Though most people today know Oswald the Lucky Rabbitt as a Disney character, Walt Disney was hardly the only filmmaker to make cartoons with him. After Walt Disney found out he didn't own the character (despite creating him) and essentially had the series taken from him, Charles Mintz would head the cartoon series. However Universal would take the rights away from Charles Mintz to have the cartoons produced in studio. Now heading these cartoons was Walter Lantz, who would later go on to produce the Woody Woodpecker and Chilly Willy cartoons.
Now it is time for a commercial break.
Next comes a silent Aesop's Film Fables cartoon, The Eternal Triangle (1922).
Next comes one of my favorite UPA cartoons, Fudget’s Budget (1954).
The Skelton Dance (1929) was the first of Disney's Silly Symphonies and one of the best. The idea for the series came from musical director Carl Stalling (who would later work on the Looney Tunes and Merrie Melodies). The Silly Symphonies were designed to revolve around music. Walt Disney loved the idea and felt that a second series would allow him to experiment more and not be tied down by the formula of a Mickey Mouse cartoon. The idea for the first film also is believed to have come from Stalling. Stalling would tell historian Michael Barrier about the genesis of the movie stating, "He thought I meant illustrated songs, but I didn’t have that in mind at all. The Skeleton Dance goes way back to my kid days. When I was eight or ten years old, I saw an ad in The American Boy magazine of a dancing skeleton, and I got my dad to give me a quarter so I could send for it. It turned out to be a pasteboard cut-out of a loose-jointed skeleton, slung over a six-foot cord under the arm pits. It would ‘dance’ when kids pulled and jerked at each end of the string. Ever since I was a kid, I had wanted to see real skeletons dancing and had always enjoyed seeing skeleton dancing acts in vaudeville.” Though Carl Stalling would use an excerpt from Edvard Grieg’s March of the Dwarfs, most of the music was an original by Stalling. The animation for the movie was completed in six weeks. The majority of the animation was done by Ub Iwerks, the Disney studio's main animator at the time. He animated some of the earliest Mickey films entirety by himself. On this film he was assisted by Wilfred Jackson and Les Clark. It is not known for sure what Les Clark animated as some sources state he animated the opening scene and others (including his own) state he animated one skeleton playing another's ribs as a xylophone. Wilfred Jackson most likely animated the scene where the rooster crowing (which was reused in The Cat's Nightmare (1931)). When Walt tried to sell this film, it did not go as smoothly as he excepted. Walt's daughter, Diane Disney Miller, would later speak about this, “Father wasn’t easily discouraged. He took The Skeleton Dance to a friend who ran the United Artists Theater in Los Angeles and asked him to look at it. ‘We’re looking at some other things this morning,’ the man said, ‘and I’ll have my assistant look at it. You go with him’. Father sat beside the assistant while the film was run. It was just before the first morning show; a few customers had drifted in, and it was obvious they liked The Skeleton Dance but the assistant didn’t listen to them. ‘Can’t recommend it,’ he said. ‘Too gruesome’. Father got a hold of another friend and asked him if he could put him in touch with Fred Miller who managed the Carthay Circle, one of the biggest and most important theaters in town. Father’s friend sent him to a salesman on Film Row. ‘Maybe he can get him to look at your skeleton film’. Father found the salesman in a pool hall shooting a little Kelly (a game played on a standard pool table with sixteen pool balls where each player draws one of fifteen numbered markers called peas or pills at random from a shake bottle which assigns to them the correspondingly numbered pool ball, kept secret from their opponents, but which they must pocket in order to win the game). ‘Leave your picture here, Disney,’ the Kelly player said. ‘I’ll look at it. If I like it, I’ll get in touch with you’. It sounded like a stall, but he actually did look at the film. When he looked, he said, ‘I think Fred will like this. I’ll take it over to him myself’. As a result, Miller showed The Skeleton Dance with a feature picture he was running. It went over big. Father clipped the local press notices and mailed them to Powers with a note: ‘If you can get this to Roxy (the nickname of Broadway showman Samuel L. Rothafel who ran New York’s prestigious Roxy Theater), he’ll go for it the way Miller did. Powers got a print to Roxy and Roxy liked it. He ran it in his huge New York theater.” This movie premiered at the Carthay Circle on June 10, 1929, alongside F.W. Murnau's feature film, 4 Devils (1929). The Carthay Circle is where later Disney features like Snow White and the Seven Dwarfs (1937) and Fantasia (1940) would make their Hollywood premiers.
Today's cartoon selection ends with a true country music 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.
