This movie tells the story of World War 2 photographer and war correspondent Lee Miller. What makes this film work so well is its depiction of Lee herself. This film takes a complex look at this figure. While the movie takes an admiring and sympathetic look at her, it also does not overlook her rough edges. Her flaws are on full display here but at the same time it celebrates and cherishes both who she was as a person and the importance of the work she did. This works especially well due to Kate Winslet's lead performance. This film shows the great actress at her absolute best. She completely disappears into this role, and we believe we are looking at the real Lee Miller, almost as if this is some fly-on-the-wall documentary. This performance also helps us understand why she is so driven and the fact that she needs to be there. We almost feel like we would have had to do the same thing. This film also does a great job at showing how terrifyingly horrible what Hitler and the Nazis did truly was. Despite the film's R-Rating (which is more for langue and nudity) it keeps much of the greatest horrors off screen. Having to use our imaginations implies something much more horrifying than what can be shown on a movie screen (something that is definitely true about these real-life horrors). This in fact makes this film seem all the more powerful and disturbing during these scenes.
Unfortunately, the interview framing device here feels forced and out of place. It not only feels too corny and hokey for such a serious movie, but it also adds little to the story. If it was left out, nothing would have felt like it was missing. The twist ending to this framing device also felt contrived and never hit the emotional mark that the filmmakers so desperately wanted. Also, like almost all biopics there are scenes that felt very familiar. However, this is something that is just expected anymore. It is something we see in even the best modern biopics.
Despite some flaws this is a very engaging and well-made biopic boosted by a great lead performance.
Hello my friends and happy Saturday morning. Once again it is time for some classic cartoons.
Today's cartoon selection begins with Heckle and Jeckle in Out Again, In Again (1948). This is a perfect example of why these films are some of the strongest shorts to come out of the Terry Toons studio.
Next comes a Looney Tunes cartoon starring Beans the Cat (one of the Boston beans). Though not as well known Beans made his film debut in the same cartoon as Porky, I Haven't Got a Hat (1935). That cartoon was a takeoff on the Our Gang shorts and featured a bunch of little kid characters in a talent show. The studio did not know right away, which character would be the most popular, so they all appeared starred in some Looney Tunes when the studio was looking for a new character to replace Buddy (the rather bland character that had become that series' star). While Porky would become the most popular of these characters, Beans certainly had his fans in the studio as he would star in eight of these cartoons (Porky would even be relegated to a supporting role in some of these). Hollywood Capers (1935) is a good example of one of these Beans cartoons. While it may not be as laugh out loud funny as a Tex Avery or Bob Clampett Looney Tune, this is a charming little film that always puts a smile on my face. As a character Beans certainly has more personality than his predecessor Buddy. In many ways his personality is like the early Mickey Mouse before Mickey got toned down. He is very mischievous and always on a lookout for the next big adventure. Naturally this gets him in a lot of trouble but he always manages to have quite a bit of fun along the way. A quick joke has Beans disguise himself as Oliver Hardy to sneak into the movie studio. Porky would later try to do the same (less successfully) in You Ought to be in Pictures (1940). Look in the background for a poster advertising a fight between “Punchy” Pierce and “Hurricane” Hardaway. This is referring to two of the writers of Warner Brothers cartoons at the time, Tedd Pierce and Bugs Hardaway. Also, Beans is voiced by Tommy Bond here (who played Butch in the Our Gang shorts).
Now we join our old friend Scrappy in Movie Struck (1933). This is another one of those cartoons filled with classic Hollywood caricatures and this makes it a special delight for fans of old movies. Even for those not familiar with the stars, this short film is a pure delight. There are some truly great gags here, with the Joe E. Brown scene being one of my favorites. Like many Scrappy cartoons, this film is also full of some truly bizarre gags, which are delightful in just how surreal they seem.
Now we join another old friend, Dinky Duck in Flat Foot Fledgling (1952).
Now it is time for a commercial break.
Now for one of the rare instances of very dark satire in one of Walt Disney's Silly Symphonies, Who Killed Cock Robbin? (1935). This film shows cartoon birds at the mercy of an unjust legal system. Satire, dark humor, celebrity caricatures and slapstick abound. The most significant of the celebrity caricatures is Jenny Wren, a caricature of Mae West. Most of her animation here is handled fantastically by Ham Luske and her voice comes from Martha Wentworth who does a really good impression. This character would later appear in the Silly Symphony Toby Tortoise Returns (1936). Two of Walt's future Nine Old Men animate on this film, Eric Larson and Clyde Geronimi. Eric animates the scene where Cock Robbin falls and the cops rushing in. Clyde animates the scenes involving the blackbirds and the cops, Legs Sparrow with the cops and then going into the witness box, and the cops' raiding the area. For the year of 1935 the National Board of Review named this as one of the Ten Best American Films (not just cartoons but films as a whole). According to JB Kaufman and Russell Merrit's excellent book, Walt Disney's Silly Symphonies: A Companion to the Classic Cartoon Series, the idea for making this film had been around the Disney studio as early as October 1933 but work truly began in March 1934. Wilfred Jackson was originally going to be the cartoon's director, but he was replaced with Ben Sharpsteen, who was replaced with Dave Hand, who actually directed the cartoon. Dave Hand would later be the supervising director for the Disney feature films, Snow White and the Seven Dwarfs (1937) and Bambi (1942). My fellow Alfred Hitchcock fans will recognize that a clip from this cartoon was later used in Hitch's classic movie, Sabotage (1936). The following is a review from The Film Daily, "Ye olde master, Walt Disney, has produced another cartoon which makes a swell approach to the entertainment values he provided in 'Three Little Pigs.' It's class A stuff, effectively done in color. A mysterious shadowy figure 'kills' the fabled Cock Robbin, who, by the by, is the sweetie of a May Western type of bird. Then come the Keystonian cops, also birds, and later the trial. Finally a birdy version of Dan Cupid admits to having shot Robin but May brings him to with a Big Kiss. Catchy music helps enliven the proceedings." The following is from a 1935 issue of Modern Screen Magazine and was a letter sent in by a reader. "A short time ago I took my five-year-old son with me to a local theatre. When a colored cartoon was shown, he was immensely pleased, as were several other children near us. The cartoon was 'Who Killed Cock Robin?' I may be wrong but I'm under the impression that those pictures are primarily to amuse children. If that is true than it failed. I heard several half-grown boys snickering as 'Jenny Wren' a parody of Mae West, with a high bust, wiggling hips and a sexy voice, flirted with the judge and later indulged in a kiss with Cock Robin. The smaller children merely looked puzzled and disappointed with the whole thing. Please have more cartoons like 'The Three Little Pigs,' 'Water Babies,' etc., unless of course, I'm wrong and those comedies are for grown-ups and not for little children. - Mrs. E. DeLamater, Charleston, S.C."
Now it is time for the silent Aesop's Film Fables short, Radio Controlled (1926).
Now for Bugs Bunny in Super Rabbit (1943). The ending of this short film resulted in the U.S.M.C. acknowledging Bugs Bunny as an honorary marine with the title honorary Marine Master Sergeant Bugs Bunny.
Now to close 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
Silly Symphonies: A Companion to the Classic Cartoon Series by Russell Merritt and J.B. Kaufman
This movie perfectly shows the beauty of a simple story simply told. The storyline is one that on its surface is incredibly simple. A robot grows to care for and look after an orphaned baby goose, despite not being programed to do such. The basic and straightforwardness of this storyline gives the feeling of reading a very good children's book (something that is also helped by the beautiful story book art style). This feeling gives the movie a certain charm that will make even the most cynical adult viewer feel like a kid again for a short time. As well as not being afraid to be outwardly simple, this film is also not afraid to unabashedly sentimental. This is a film that wants to tug at your heartstrings, and it does so it so in a specular fashion. The relationship between our main robot character and the baby goose is incredibly touching. Both these characters are extremely likable and work off each other perfectly. Underneath the outward simplicity, this movie delves into some deep themes. It looks into the importance of individuality in a world that seems to be doing everything it can to prevent it. In a way we are all programed by this world to be something. Yet to truly become all we can be, we have to in a way rewrite our own programing. At the same time this film takes a beautiful look at parenthood and how it completely changes who someone is. Adding to all this is a great sense of humor and some wonderful side characters.
This animated film is probably the best Transformers movie yet.
This movie is a pure delight. The basic storyline is well thought out and very clever. The way that this prequel sets up, what we all know about the franchise is very smart and makes this a delight for longtime fans. This is true for both diehard fans and causal fans. The movie also isn't afraid to tackle real themes about truly finding things out for ourselves, instead of blindly believing what we are told. The storyline also works because we truly care about the characters. Each of the main characters is very likable and relatable. We grow to truly care about them over the course of this film. More importantly then that we truly understand how and why these characters would become who they do. This film also benefits from great action sequences. The big climatic fight is especially fun and well made.
Like many family movies today, this whole film is loaded with comedy. Also like many family movies today, this comedy can be very hit and miss. There are some moments that are laugh out loud funny and others that fall completely flat.
Though the storyline is clever in a lot of ways, it is also very predictable, and you always know where it is going.
This is a pure delight, even for those who may not have been fans of the previous Transformers movies.
Hello my friends and happy Saturday morning. Once again, it is time for more classic cartoons.
Today's cartoon selection begins with one of the greatest cartoon shorts ever made, Duck Dodgers in the 24½th Century (1953). This short was my favorite cartoon as a kid and I watched it over and over until I had it completely memorized. With this, it is amazing that I still love it today, but I guess that goes to show just how great it is. I am not the only one with such a high opinion of it. It appears in fourth place in Jerry Beck's book, The 50 Greatest Cartoons as well as his book The 100 Greatest Looney Tunes. Such beloved filmmakers as Steven Spielberg and George Lucas cherished this film. Lucas even made sure the short, preceded Star Wars: Episode IV - A New Hope (1977), when that movie was reissued to theaters. The cartoon would even spawn two sequel shorts (Duck Dodgers and the Return of the 24½th Century (1980), Attack of the Drones (2003)), and a surprisingly great TV series (Duck Dodgers) that ran from 2003 to 2005. So, enjoy the original classic.
Now we join the Terry Bears in Snappy Snap Shots (1953).
Up next is a great Disney Silly Symphony cartoon, The Cookie Carnival (1935). This film marks the first Symphony to be directed by Ben Sharpsteen. Sharpsteen would go on to become the supervising director of Disney features like Pinocchio (1940), Fantasia (1940) and Dumbo (1941). This is also the first Symphony for animators Bill Tytla (my favorite Disney animator) and Grim Natwick. Tytla is best known by Disney fans for his work on feature films like Snow White (1937), Pinocchio and Dumbo. He played a major role in animating the Dwarfs for Snow White, Stromboli in Pinocchio and the elephants in Dumbo (including the titular character). In this short Tytla animates the boy cookie singing to the girl cookie as well as the angel and devil food cakes. Grim Natwick had before joining the Disney Studio had played a role in the development of Betty Boop. Here he animates a long scene (with some assistance by Eddie Strickland and Frank Thomas) in which the boy cookie gives a makeover to the girl cookie. This was some of the best animation of a female character done at Disney by this time. Because of this he would often be cast with animating female characters. Among those female characters would be the star of the studio's first feature film, Snow White. The following is an exhibitor's review from the Motion Picture Herald, "Cookie Carnival, The: Silly Symphony - I do not like this one. It might be OK for nursey but not for grownups. Just a bunch of candy men, etc. the usual hokum. Running time, eight minutes, —Paul J. Pope, Avon Theatre, Geneva, Ala., Small Town and Rural Patronage."
Now for Krazy Kat in Lambs Will Gamble (1930).
Now it is time for a commercial break.
Now for a classic silent Felix the cat cartoon, Felix Gets Revenge (1922). Though over 100 years old, this short is still fresh and a lot of fun today.
Next is The Pink Panther in Pink Sphinx (1968). This short film was directed by Hawley Pratt, who had been a layout artist on many of Friz Freleng's (the Freleng in DePatie-Freleng (the studio that made these films)) cartoons for Warner Brothers. Pratt was directing quite a few Pink Panther shorts and other films for DePatie-Freleng at this time.
Next is Donkey Kong in Gorilla Gangster (1983). This cartoon comes from a TV Show called Saturday Supercade. Each episode of this show was made up of multiple cartoons based on popular video game characters. Other video game characters featured in this show included Frogger, Donkey Kong Jr., Q*bert, Space Ace, Kangaroo and Pitfall Harry. In this cartoon, Donkey Kong is voiced by Soupy Sales, a comedian best known for his TV work in the 1950's and 60's. Mario is voiced by Peter Cullen, best known as the voice of Optimus Prime in Transformers.
Today's cartoon selection ends with the brilliant opening to a classic Simpsons episode, Bart's Friend Fall in Love (1992).
Thanks for joining me. Come back next week for another selection of classic cartoons. Until then may all your tunes be looney and your melodies merry.
Resources Used
The 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
For this film Kevin Smith definitely dives into his own adolescence. It is this personal approach that makes this film so completely charming. There is a pure earnestness here that is simply hard to resist. The whole movie has a certain wistful and nostalgic tone (while not sugarcoating anything) that gives this a certain lighthearted feel not found in Smith's other movies. Also being semi-autobiographical, this film shows a great understanding of it characters. As the movie starts, they come off as familiar teen stereotypes but as the story unfolds, they become more human and relatable. At the same time having the film focus on teenagers allows Smith to delve into his signature sophomoric humor without it clashing with the more serious moments. Through the main character we explore why us movie buffs find such solace in going to the cinema. Again, this is done in such an earnest way that it is hard not to see a bit of yourself in him. Being a Kevin Smith film there is obviously a lot of humor. While some of the humor falls flat, the jokes that work are laugh out loud funny. I am still laughing to myself about the movie previews and the phone call scene. It is easy to look past the jokes that miss when the ones that land are so funny.
This movie does have a flaw that is too common in Kevin Smith's films. That is that when the story gets more serious, the characters tend to delve into speeches. While some of these are well-written speeches, they still take us out of the film when they take place.
Though not perfect this is a movie that manages to mix dumb (but admittedly funny) sophomoric humor with a very personal look into these characters and the director himself. Most of all though it is simply charming.
Most films about psychics would either try to prove or disprove whether or not they can actually do what they say they can. However, director Lana Wilson has little interest in this. Instead, she is interested in people. Whether they truly have a psychic gift is nowhere near as important as who these people are. This is a deeply empathetic film. Even if you are a skeptic (like me), you will still find yourself connecting to these people on a personal level. While none of these psychics have the same story, there are certain similarities between all of them. They are all outcasts who don't quite fit into society. They all have their own anxieties and have something in their past that hurt them. However, their "abilities" have a way of helping them cope. One gets the idea that they are not only doing this to help their clients get through something but to help themselves make it through their pain as well. Yet sometimes their insecurities can reach even into their careers as psychics. They even admit themselves that they sometimes wonder if their abilities are real or if they are making stuff up. There are moments in this movie that make it seems like these abilities have to be real and there are others where it seems like these psychics are completely making stuff up. Yet the camera just sits and observes these scenes, and Wilson offers no commentary on them. This is the rare current documentary that never tells us what to think. People who are skeptics may look at these scenes completely different from those who are believers. There is no narrator or even subtitles telling us who these people are. The camera and the director just sit and observe. Yet this sheer honesty is what makes the film so fascinating. It is also why we are allowed to connect so deeply with these people, even as we may not share the same beliefs.
This is a truly wonderful movie and must watch for fans of documentaries. I personally had little interest in the subject matter, yet found myself glued to the screen.
The story of a theater critic going to great lengths to get revenge is over the top and melodramatic. But that is exactly what makes this film so much fun. One thing that you could never call this movie is boring. Each twist is so much fun and keeps your eyes glued to the screen. It also so great to watch a current movie that is so unashamedly melodramatic and there is no doubt that the filmmakers were enjoying making this. As well as being a joy to watch, many of the twists kept me wondering what was going to happen next and there are some twists that honestly took me by surprise. Also making this movie a joy to watch is Ian McKellen's wonderful performance. He is definitely enjoying this role of a very theatrical drama critic, who is in love with the sound of his own words. He is simply having the time of his life here and because of this he is so much fun to watch. Also because of his performance, he makes a character that may not be traditionally likable into a real joy to watch. The wonderfully atmospheric visual filmmaking and the 1930's London setting add so much to this film as well.
Unfortunately, this movie has a rather weak ending. It does not feel like a satisfactory conclusion and parts seem a little too convenient even for a melodramatic story like this. The last act of this movie also feels quite rushed, something that is strange considering that the first two acts move at a decidedly slower pace. As great as the melodramatic elements of this story can be there are times when it can stretch beyond the realm of plausibility to the point it takes us out of the movie.
This movie may have its flaws, but it keeps your attention and never once boring. That is more than enough for me to give this film a full recommendation.
Hello my friends and welcome back for another service of Cowboy Church,
Today's musical selection begins with Dale Evans with The Light of the World Is Jesus. This recording comes from her and her husband Roy Rogers' 1957 album, Sweet Hour of Prayer.
This is followed by Roy Rogers with Peace in the Valley. The hymn was written by Thomas A. Dorsey who later explained the origins of this song, “Peace in the Valley,” “It was just before Hitler sent his war chariots into Western Europe in the late 1930s. I was on a train going through southern Indiana and saw horses, cows and sheep all grazing together in this little valley. Everything seemed so peaceful. It made me question, “What’s the matter with mankind? Why can’t men live in peace?” Out of those thoughts came “Peace in the Valley.”
Afterwards is Molly O'Day and Lynn Davis with their 1947 recording of Don't Forget the Family Prayer.
Then comes Johnny Cash with Seal it in My Heart and Mind. This song was written by John himself. It is unknown where John actually recorded this. However, it would be released posthumously in 2006 in a two-disc set called Personal File. This set was made up of previously unreleased recordings that include just John and his guitar.
Next is Faron Young with his 1958 recording of Traveling On.
Then comes Roy Drusky with Softly and Tenderly. The song was written by an Ohio businessman named Will Thompson in 1880. As well as writing gospel songs Thompson also wrote quite a few secular songs and parotic songs. When the songs he wrote were rejected by publishers he created his own company, Will L. Thompson & Company. This company would not only publish music by sell musical instruments. Softly and Tenderly first appeared in 1880's Sparkling Gems, Nos. 1 and 2, a collection of songs from the company. When evangelist Dwight L. Moody was on his death bed he told the songwriter, "Will, I would rather have written ‘Softly and Tenderly Jesus Is Calling’ than anything I have been able to do in my whole life." This was appropriate as Will decided to make songwriting his career while at a meeting held by Moody.
Next is 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."
Today's musical selection ends with Eddie Dean and the Frontiersman with two songs, Walk Beside Me and Blessed Are They. Both of these songs were recorded in 1955. Though not as well remembered as Roy Rogers or Gene Autry, Eddie Dean was a popular singing cowboy in the movies.
Now for the Roy Rogers movie, Under California Stars (1948).
Now for a message from the Reverend Billy Graham.
When the righteous cry for help, the Lord hears and delivers them out of all their troubles. The Lord is near to the brokenhearted and saves the crushed in spirit. Many are the afflictions of the righteous, but the Lord delivers him out of them all. He keeps all his bones; not one of them is broken. Psalm 34:17-20
For I know the plans I have for you, declares the Lord, plans for welfare and not for evil, to give you a future and a hope. Jeremiah 29:11
Let no debt remain outstanding, except the continuing debt to love one another, for whoever loves others has fulfilled the law. Romans 13:8
Whoever does not love does not know God, because God is love. 1 John 4:8
Dear friends, let us love one another, for love comes from God. Everyone who loves has been born of God and knows God. 1 John 4:7
Blessed are the peacemakers, for they shall be called sons of God. Matthew 5:9
You keep him in perfect peace whose mind is stayed on you, because he trusts in you. Isaiah 26:3
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
Thanks for joining me. Come back in a couple weeks for another service of Cowboy Church.
Hello my friends and happy Saturday morning. Once again it is time for some classic cartoons.
Today's cartoon selection begins with Walky Talky Hawky (1946). This short film was created as a starring vehicle for the character Henry Hawk, who had previously appeared in the Chuck Jones directed cartoon The Squawkin' Hawk (1942). However, this film is best known for introducing the world to Foghorn Leghorn. This cartoon was directed by Robert McKimson, who would go on to direct all the Foghorn Leghorn shorts. Appropriately this cartoon was featured in Jerry Beck's book, The 100 Greatest Looney Tunes.
Now for a classic Terry Toons short, The First Robin (1939).
Now for a real classic Mickey Mouse cartoon, On Ice (1935). This cartoon stars not only Mickey but also Minnie, Donald, Pluto and Goofy. Despite being a short film, this movie gives ample time to each of the main characters and gives them all their own little story (though Mickey and Minnie share their story). Some of the characters' little stories even intertwine at the end. Even in this silly slapstick cartoon, the Disney studio's great storytelling ability at this time period is shown perfectly through this and it is easy to understand, why for so many the Disney cartoons stood out during this time period. Goofy especially gets time to shine here and gets some of the best gags. He is heavily animated by Art Babbit here, who was one of the finest animators for this character at this time. Despite his little screentime Art Babbit's animation makes Goofy feel like a fully formed character. Here Goofy sings the song, The World Owes Me a Living. That song was introduced in the Disney short, The Grasshopper and the Ants (1934). There the song was sung by a grasshopper. That grasshopper was also voiced by Pinto Colvig, who used pretty much the same voice he used for Goofy. This song would go on to become Goofy's unofficial theme song.
Next, we join Oswald the Lucky Rabbit in The Ginger Bread Boy (1934). Though most people today are probably most familiar with Oswald from his early cartoons by Walt Disney, I have a special fondness for these shorts produced by Walter Lantz. This is probably because they were my introduction to the character.
Now it is time for a commercial break.
Next is a delightful silent Aesop's Film Fables cartoon, The Dog and the Thief (1922).
p next is the Silly Symphony, Moth and the Flame (1938). This film began creation in the summer of 1935. However, it was shelved and not picked up again until spring of 1937. In 1935, Dave Hand (supervising director for the Disney features, Snow White and the Seven Dwarfs (1937) and Bambi (1942)) was set to direct. However, after Burt Gillett (who directed the most famous Silly Symphony, Three Little Pigs (1933)) returned to Disney from the Van Beuren Studio, Gillett was placed as director. However when Gillett left Disney again midway through production, Dick Huemer (who would work on such Disney feature films as Fantasia (1940), The Reluctant Dragon (fol1941), Dumbo (1941), Saludos Amigos (1943), Make Mine Music (1946) and Alice in Wonderland (1951), and had done great work at the Fleischer Studios during the silent era and worked on some of the Scrappy cartoons at Columbia in the early 1930's) would become the film's director. Russell Merritt and J.B. Kaufman's book on the Silly Symphonies credits Gustaf Tenggren with "Inspiration art." Tenggren played an important role in the Disney studio at this time and had designed backgrounds for the Disney features, Snow White and Pinocchio (1940). All the Disney films he worked on were pure visual delights and had a real sense of atmosphere that I find irresistible. Win Hoskins, who would work on both of the Fleischer Brothers' feature films, Gulliver's Travels (1939) and Mr. Bug Goes to Town (1941), animated the opening of the film. Archie Robin animated the moths eating the costumes. Izzy Klein, who would later write many of the Popeye and Casper the Friendly Ghost cartoons for Famous Studios, animated our heroes entering the shop. Milt Schaffer, who would go on to write some great cartoons for both Disney and Walter Lantz, animated the boy getting burned, the girl being caught in the web, the boy trying to trap the flame and the boy rescuing the girl. Ed Love, who would later animate for Tex Avery at MGM, animates the scenes with the girl and the flame as well as ending scene. Louie Schimdt animated the boy pouring water on the flame. Don Williams, who worked on many cartoons for Warner Brothers and DePatie-Freleng, animated the moths filling the bagpipes. This cartoon premiered at the Radio City Music Hall on September 22, 1938, with the Fred Astaire and Ginger Rogers movie, Carefree (1938). Its television debut was on October 22, 1956, on an episode of The Mickey Mouse Club. The following are some exhibitors' reviews from the Motion Picture Herald, "Moth and the Flame, The: Walt Disney cartoons - This was particularly good - Harland Rankin, Plaza Theatre, Tilbury, Ontario, Canada. General Patronage." Moth and the Flame, The: Walt Disney Cartoons - Still tops among cartoons or have you heard? - C. Fismer, Lyric Theatre, Hamiliton, Ohio. Family Patronage." "Moth and the Flame, The: Walt Disney Cartoons - A real humdinger! Very clever. - L.A. Irwin, Palace Theatre, Penacook, N.H. General Patronage."
Now we join Donkey Kong in Greenhouse Gorilla (1983). This cartoon comes from a TV Show called Saturday Supercade. Each episode of this show was made up of multiple cartoons based on popular video game characters. Other video game characters featured in this show included Frogger, Donkey Kong Jr., Q*bert, Space Ace, Kangaroo and Pitfall Harry. In this cartoon, Donkey Kong is voiced by Soupy Sales, a comedian best known for his TV work in the 1950's and 60's. Mario is voiced by Peter Cullen, best known as the voice of Optimus Prime in Transformers.
Today's cartoon selection ends with Itchy and Scratchy in Cat Splat Fever. This cartoon comes from The Simpsons episode, Radio Bart (1992).
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 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
Walt Disney's Mickey Mouse: The Ultimate History by J.B. Kaufman and David Gerstein
This film takes place in a world where wrestlers are masked vigilantes of the Batman variety. Not only does this premise sound stupid but the film is horribly made. This movie feels amateurish in every department. This is especially obvious in the cinematography. It looks like it was shot by someone holding an iPhone and just learning how to make videos on it. The camera is constantly moving for no reason whatsoever and occasionally it will simply zoom in on a random spot. The odd placements of each closeup shot are unintentionally funny at first but simply get annoying as they persist. This is especially distracting during the fight scenes, where the camera never focuses in on the important part of the action. This movie is also a failure in both the story and character department. The story feels like it was written by an elementary school kid during a single recess. It makes no sense, and it lacks the self-awareness that such a ridiculous premise needs. At first, I thought this was going to be a silly comedy with how ridiculous everything was. However, if that was the intention there are no real jokes in the entire film. Not only this but the story feels like it is always copying some other movie that did everything much better. The characters themselves are as bland and boring as can be. It is hard to care for any of them at all.
This is simply a mess and it hard to believe something this bad found its way to theaters.
An exciting and well-made action thriller from India.
There is a lot to enjoy about this movie. The action scenes are a lot of fun. They are very well paced and staged as well as feeling larger than life in a good way. The main character is quite likable. While he is not complex, it is very easy to root for him. The song numbers are a lot of fun. This is true of both the songs themselves and the choreography. For Bollywood fans this film is also loaded with fun references to various gems of Indian cinema. However, where this movie shines the best is in the last third. The last hour (of this three-hour movie) is very well made. There is a real sense of suspense and urgency throughout as well as some plot twists that keep you guessing what is going to happen next. Much of this is due to the great villain of this movie. When he shows his true colors, he is quite chilling and unpredictable. You never know what he is going to do next, and this kept me firmly on the edge of my seat. There is also some great uses of crosscutting as our heroes try to save the day, while he is growing increasingly dangerous.
This movie does have the same problem as many Bollywood films today. That is overlength. There is no reason for an action flick like this to be three hours and it definitely feels overstuffed. This movie really drags at times especially in the middle. The special effects here also often look very fake.
Despite its flaws, this is an exciting action thriller that keeps you on the edge of your seat.
Zoë Kravitz's directorial debut is a misguided, clichéd and unsubtle thriller.
The main problem with this movie is that it is incredibly predictable the whole way through. It is one thing if a comedy, an action flick or a romance film are this predictable. However, in a suspense movie being predictable is deadly. It is hard to be on the edge of your seat, when you figured out what is happening so early on. When the big reveal takes place there is not an ounce of surprise or shock because all the clues leading up to it were so obvious. In fact, this even makes the film really drag at times, while you wait for the characters to finally figure out what you already knew. What doesn't help is that there are scenes that remind you too much of other recent thrillers like The Menu or Don't Worry Darling, though this film is much weaker than those two. In fact, when those scenes came up, I was wishing I was watching those films instead. As well as being a thriller this movie also tries to be a social commentary and a dark comedy. Unfortunately, it fails at those as well. Despite being so desperate to say something, this film does not say much of anything. Acknowledging that rich people who use their wealth and power to take advantage of woman are horrible people is not saying anything groundbreaking but instead simply using common sense. We know these are horrible people and the film hardly offers us further insight than this. There is also a message about women needing to stand with each other rather than against each other. I completely agree with this message but the way it is delivered is horrible. The way this message is delivered is through awkwardly written dialogue that lacks even the tiniest bit of subtlety. The dark humor on the other hand is never that funny and often leans more on characters being obnoxious rather than any clever writing.
The only thing about this movie that work is the look. This is a very handsome looking movie. The sets, the cinematography and the lighting all make this a visual treat. Unfortunately, it fails completely in every other department.
In many ways this film about a Japanese businessman going to America with his pitch for how a group of American ranchers should do things and gaining a better understanding of these people instead, is quite familiar. However, this film tells the story with such sincerity and convection that it feels completely fresh. What makes this movie work so well is that the filmmakers obviously have respect for each character. The filmmakers acknowledge the differences between the two cultures and often use this for humor. However, the characters themselves never come off as jokes or meanspirited caricatures. Also, the big city slicker never comes off as the villain intruding on the ranchers. Rather this is a film about two different sides growing a greater understanding of one another. This is something that is frankly more interesting than what a Hallmark type of movie would have done with this premise of having the businessman either as the villain or the love interest who learns how evil his company is. However, the main character does go through a bit of transformation through the film. Yet this is done in a way that feels completely believable and never forced. The character feels like the same man all the way through. Though there are many ways he changes, there are many ways we know he will never change. This movie is also very funny, and I was surprised at just how many times I laughed out loud watching this.
Hello my friends and welcome back to 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 by Kitty Wells with Jesus is Coming Soon. This recording comes from her 1965 gospel album, The Kitty Wells Family Sings Gospel Songs.
Then comes Wade Mainer, Zeke Morris, and Homer Sherrill with their 1937 recording of Just One Way to the Pearly Gates.
Next is Merle Haggard and The Carter Family with Precious Memories. Though this is a sweet uplifting song, it was based upon a tragedy. In 1922, John Wright lost his five-year-old son. Wright would later say about this song, “’Precious Memories’ was born in the midnight hours as I bathed by pillow with tears, likewise all my songs came through life’s severest tests.” Though this is a very famous hymn, John Wright only received $36 for writing it. He would remain a janitor that was always struggling to make ends meet for his entire life. This version of the classic hymn comes Merle's 1971 gospel album, The Land of Many Churches.
Afterwards is Red Sovine with his 1956 recording of I Got Religion the Old Time Way. Red co-wrote this song with fellow country singer Webb Pierce.
Now for Tennessee Ernie Ford with Blessed Assurance. This hymn came about when songwriter Fanny Crosby visited composer Phoebe Palmer Knapp. Knapp played a tune for Crosby and asked what came to her mind with that tune. Crosby said, "Blessed assurance, Jesus is mine!" She then immediately followed it with more lyrics that would be in the finished song. The song was published in 1873 and first appeared in a monthly magazine for which the editors were Joseph Fairchild Knapp and Phoebe Palmer Knapp (who were husband and wife). When it later appeared in 1887's Gospel Songs, No. 5 by Ira Sankey, this we lead it to greater fame as it would be commonly sung in the revivals of Dwight L. Moody and Sankey. By 1889, the hymn commonly appeared in Methodist hymnals.
This is followed by Bob Dylan singing In the Garden. This recording comes from the second of Bob's three Christian albums, 1980's Saved.
Today's musical selection ends with The Sons of the Pioneers with their 1951 recording of The Wonderous Word of the Lord. Hugh Farr delivers the wonderful bass vocals on this recording.
Now for an episode of the Roy Rogers radio show.
Now for a message from the Reverand Billy Graham.
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
Blessed be the God and Father of our Lord Jesus Christ! According to his great mercy, he has caused us to be born again to a living hope through the resurrection of Jesus Christ from the dead. 1 Peter 1:3
And the God of all grace, who called you to his eternal glory in Christ, after you have suffered a little while, will himself restore you and make you strong, firm and steadfast. 1 Peter 5:10
But God will never forget the needy; the hope of the afflicted will never perish. Psalms 9:1
Let no debt remain outstanding, except the continuing debt to love one another, for whoever loves others has fulfilled the law. Romans 13:8
Do not seek revenge or bear a grudge against anyone among your people, but love your neighbor as yourself. I am the LORD. Leviticus 19:18
A friend loves at all times, and a brother is born for a time of adversity. Proverbs 17:17
Hatred stirs up conflict, but love covers over all wrongs. Proverbs 10:12
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 a classic Bugs Bunny film, Baseball Bugs (1946). This short film is a pure classic. Though there have been many funny baseball cartoons, this may be the best. The cartoon is simply one great gag after another. This includes a screaming liner pun that was used before in Porky's Baseball Broadcast (1940). The slow ball gag would later be used in the Bobo the Elephant short, Gone Batty (1954). The batboy gag would later be reused in the Cool Cat cartoon, Bugged by a Bee (1969). This is one of only two Looney Tunes that ends with Bugs popping out of the drum at the end instead of Porky. The other was Hare Tonic (1945). In both these films he states, "And that's the end!" instead of "That's all Folks!" This short was appropriately included in Jerry Beck's book, The 100 Greatest Looney Tunes.
Next comes another masterpiece of a cartoon, Minnie the Moocher (1932) starring the one and only Betty Boop. This cartoon is a pure example of what the Fleischer studio did better than anyone else. The film is full of incredibly creative, surreal and just plain weird gags that are executed to complete perfection. This cartoon is the first of three Bettys to feature jazz singer Cab Calloway (the other two being Snow White (1933) and the Old Man of the Mountain (1933)). In all three of these cartoons, the singer was not only used to sing his song, but his iconic dancing was captured by the dancer via rotoscope. A review in the Film Daily stated "This swell Max Fleischer musical cartoon is the best turned out so far with the cute pen and ink star, Betty Boop, who seems to get more sexy and alluring each time and her boyfriend Bimbo. The musical selection is supplied by Cab Calloway and his orchestra and what these boys can't do to the Minnie the Moocher number is not worth mentioning."
Next comes Mighty Mouse in The Helpless Hippo (1954). This cartoon was directed by Connie Rasinski.
Now for a Walter Lantz Oswald short, A Jungle Jumble (1932). The animators on this film include future legendary cartoon director, Tex Avery (credited as Fred Avery) and Les Kline, who would animate on Walter Lantz cartoons all the way into the 1970's.
Now it is time for a commercial break.
Now for a silent short directed by Walter Lantz before he would become well known as the creator of Woody Woodpecker. His co-director on this film is Clyde Geronimi, who would later direct many films for Disney including being a co-director on the feature films, Cinderella (1950), Alice in Wonderland (1951), Peter Pan (1953), Lady and the Tramp (1955), Sleeping Beauty (1959) and One Hundred and One Dalmatians (1960). So, enjoy The Leopard's Spots (1925).
Now for Donald Duck in How to Have an Accident at Home (1956). This was the first of four planned safety films by the Disney studio. These films would teach about how to prevent accidents in various environments by showing you the wrong way to do things. Donald Duck himself was given the "privilege" of showing us the wrong way in these films. Each cartoon would feature Donald going through various slapstick mishaps and the audience would learn from his mistakes. Story man Roy Williams (who old TV fans might know for being the Big Mouseketeer on The Mickey Mouse Club) began working on ideas for these films in 1953. This cartoon would begin production in 1954 but wouldn't see movie screens until 1956. Much of the animation in this short was done by former effects artist Jerry Hathcock. He animated the opening scene, Donald in traffic (with Earl Combs), Donald reading, Donald trying to nail the picture to the wall, Donald lighting his pipe, Donald falling with the fishbowl, Donald in the bathroom, Donald's accident with cleaning fluid and the closing scene. Earl Combs animates Donald in traffic (with Jerry Hathcock), Donald's landing after falling with the fishbowl and Donald having trouble with the chair's springs. George Nicholas animates Donald avoiding the piano and the kid on the bike, Donald falling down the stairs in slow motion and Donald with the TV set. Volus Jones animates fate lecturing while Donald has trouble with the toaster. Bob Bemiller and Ed Solomon animate Donald fixing the stairs, plugs, and throw rug. Ed Solomon also animates Donald entering the dynamite plant. There would only be one more of these safety films to follow, How to Have an Accident at Work (1959), the other two would never be completed.
Now we join Donkey Kong in Mississippi Madness (1983). This cartoon comes from a TV Show called Saturday Supercade. Each episode of this show was made up of multiple cartoons based on popular video game characters. Other video game characters featured in this show included Frogger, Donkey Kong Jr., Q*bert, Space Ace, Kangaroo and Pitfall Harry. In this cartoon, Donkey Kong is voiced by Soupy Sales, a comedian best known for his TV work in the 1950's and 60's. Mario is voiced by Peter Cullen, best known as the voice of Optimus Prime in Transformers.
Now to end today's cartoon selection with a very educational film.
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 100 Greatest Looney Tunes edited by Jerry Beck.
This is one of the most playful and fun movies that Tim Burton has made in decades. Though the film may not be perfect, it is simply a blast to watch. It accomplishes the most important part of any comedy. That is to say it is laugh out loud funny. This film is full of gags and yet nearly every one of them hits. The comedy in this sequel is even more over the top than the original to the point where at times it almost becomes a live action Tex Avery cartoon. This cartoon-y over-the-top comedic approach could have been off-putting, if it wasn't so darn funny. The humor here may actually be even funnier than the original. I was very pleasantly surprised by just how much I laughed watching this. Adding to the fun is the sheer creativity of the afterlife. All the scenes taking place there are incredibly creative and fun. This is the opportunity for the filmmakers to simply let their imaginations run wild and they do this in a specular fashion. The morbid humor in these scenes only adds to the wonderfully playful but spooky atmosphere.
The characters in this film are also great, both old and new. Of course, Michael Keaton is back as Betelgeuse (the ghost with the most babe) and he is wonderful, retaining the pure comic energy of 36 years ago. While he receives more screentime in the sequel than in the original, he never overstays his welcome and stays the same fun to watch sleaze-ball that we enjoyed in the first film. The returning members of the Deetz family are just as great here, and I love how they made Lydia feel like the same character in some ways, while acknowledging how much a person changes in 36 years. And of course, Winona Ryder is wonderful. However, the new characters were a lot of fun as well. Lydia's daughter Astrid (played by Jenna Ortega, who Burton had directed in the TV series Wednesday) is a very likable character and one that is easy to relate to. Like Lydia in the first film, she is the emotional anchor here and she fills this role very well. However, the scene stealer is Bob (a guy with a shrunken head like the one we see briefly in the first film), who is truly hilarious and charming.
This movie does fall into one trap that too many sequels do. The first film has a charming simplicity to it. The first Beetlejuice is a simple story simply told. This gives it almost the feeling of a dark fairytale. However, this sequel has too many characters and too many plot points, that it loses some of the simple charm that the first film had plenty of. Having subplots about Betelgeuse's ex-wife and an actor that use to play a cop, distract from the Deetz's story and rob the film of some of the simple charm of the first one.
While this movie may get bogged down by too many subplots and characters, it is so darn much fun that you may not care.
Superman the Movie is one of the most important movies in the history of superhero cinema. This is the movie that graduated superhero films from cheap B movies and movie serials to high budget blockbusters. Yet its historical importance is not the only reason this is essential viewing for any superhero fan. Even with the incredible wealth of superhero movies that followed (and are still being made today), this still stands as the greatest superhero movie ever made. This is the golden pinnacle amongst which all superhero films must be weighed.
This movie recounts Superman's origin story from the destruction of the planet Krypton to him arriving on Earth to him growing up as Clark Kent in Smallville to him moving to Metropolis to him taking on his first real supervillain.
Many superhero films are fun, exciting and even emotional. Yet none of them quite capture the sheer awe and wonder felt throughout Superman the Movie. This is as much of an old school epic as it is a superhero adventure. As much as I love the MCU and the DC films that followed, none of them have the same feel as this movie. Perhaps something about these superhero stories has been lost and watching this movie it is hard not to view that as a shame. Scenes like the opening on Krypton, the Kents discovering the baby by the side of the road, the introduction of the fortress of solitude and Superman flying Lois Lane through Metropolis are scenes that stay in your mind well after the film ends. This is not only done through great visuals that still look fantastic today but through the way they are presented as well. This movie treats these fantastical scenes with the upmost sincerity and a sense of childlike wonder. Because of this watching this film makes one feel like a child again. A child that is eagerly awaiting to go to the comic book story to see Superman's latest adventure, going to the movie theatre every week to see the new Superman movie serial, getting up early on Saturday morning to see new cartoons or discovering the true magic of movies for the first time. Yet this movie is not simply style over substance. The storyline is a lot of fun and even at times quite emotional. The story is in many ways a simple old fashioned superhero adventure and there is nothing wrong with that. The simplicity of the basic story adds to how this film truly makes you feel like a child while watching it. There is still something that is so satisfying about watching Superman save the day and help people out. Little scenes like Superman catching a falling Lois Lane, saving an airplane full of people and helping a little girl get her cat out of a tree add so much to this movie that would not be there if the entire film focused on his fight with Lex Luthor. The movie is also full of delightful action scenes that are still a lot of fun and a delightful sense of humor. As well as the fun and wonder here, this movie also has some very emotional moments. The greatest of these emotional moments comes before we even see Superman in costume. This is when Clark stands over Pa Kent's grave stating that even with all his powers he couldn't save him. This scene still hits me right in the gut every time I watch.
Of course, one of the main ingredients that makes this film work is Chistopher Reeve as Clark Kent/Superman. He becomes this character and when you look at the screen, it is like Superman just stepped out of the comic book and into the real world. For a movie that is supposed to feel larger than life this is incredibly important. We forget that we are watching an actor, and we believe that Superman is as real as we are. Part of the reason his performance makes the character feel so real is that in a way Reeve believed in Superman. In his memoir Nothing is Impossible, he wrote, "To say that I believed in Superman is quite an understatement. Of course, I knew it was only a movie, but it seemed to me that the values embodied by Superman on the screen should be the values that prevail in the real world. I've seen first-hand how Superman actually transforms people's lives. I have seen children dying of brain tumors who wanted as their last request to be able to talk to me and have gone to their graves with a peace brought on by knowing that their belief in this kind of character is intact. They're connecting with something very basic: the ability to overcome obstacles, the ability to persevere, the ability to understand difficulty and to turn your back on it." He took the role seriously from the start. He not only went through intense bodybuilding, but he also tried to get into the mind of the character. He would later write, "Truth and justice seemed relatively easy to understand but what about 'the American way?' What does that mean? Is the American way different from the way of other countries that uphold democracy and human rights? After considerable thought and discussion with friends, I decided that because the character is a hero for the entire world, nationalism was not an issue. I thought about other aspects of the American way and the basic rights of pluralistic societies: equal opportunity, equal rights, tolerance, free speech, and fair play." When it came to his secret identity Clark Kent, Reeve based his performance off of Cary Grant in the classic screwball comedy, Bringing Up Baby (1938). It is no wonder that Reeve became the ultimate depiction of Superman for a generation. However, Reeve was not the first considered for the role. The studio (Warner Brothers) wanted a bigger star in the role like Robert Redford in the role. However, director Richard Donner would state that he, "had to convince the audience that the man who was playing that role could fly. And I could not believe Redford or Newman in blue leotards and a red cape, flying." Yet he felt that newcomer Christopher Reeve would be completely believable. About Reeve Donner would state. "I didn't find him. God sent him to me."
The movie also benefits from a really strong supporting cast including Marlon Brando as Jor-El, Gene Hackman as Lex Luthor, Margot Kidder as Lois Lane, Glenn Ford as Pa Kent, Phillis Thaxter as Ma Kent, Marc McClure as Jimmy Olson, Jackie Cooper (who had been one of the Our Gang (or Little Rascals) kids in the 1920's and 30's) as Perry White and the beautiful Valerie Perrine as Lex Luthor's sexy girlfriend Eve Teschmacher. Marlon Brando received top billing and was the highest paid. For doing this film he received $3.7 million for only 12 days' work and 10 minutes of screen time. Marlon Brando showed none of the passion for the project that Reeve had. He refused to memorize his lines and, in the scene, where he is placing the baby in the escape pod, he is actually reading the lines off the baby's diaper. Lois Lane's parents are played by Kirk Alyn and Noel Neill, who had played Superman and Lois in the 1940's movie serials. Jeff East, who played the young Clark Kent was Glenn Ford's son in real life.
Director Richard Donner took this film just as seriously as Reeve did. While making the film he would say, "The minute you lose the truth or make fun of it or begin to parody it, you destroy the line of tension, the honesty." Donner would express great disappointment in the first draft of the script stating that it "was like 400 pages. It was ridiculous. They had Superman flying down looking for Lex Luthor, but he stops Telly Savalas on the street, who says, 'Who loves ya baby.' It was just sickening. It had no approach, no sense of its own verisimilitude - its own life in the reality of what Krypton was, what Smallville was, what the transition to Metropolis was going to be." It is Donner's pure passion that would make this movie so special. Donner would even state, "I was making it for me. . .. This picture is the biggest Erector Set given to the biggest kid in the world."
John Williams score is also fantastic for this movie. There is hardly a movie fan that doesn't recognize his Superman Theme. Williams would state, "Superman was the perfect hero to be musicalized in quasi-operatic or balletic fashion." He would also state, "My challenge and opportunity was to capture musically Superman's optimism and invincibility and athletics and heroism. The perfect fifth and the perfect octave are heroic intervals that have a strength and a core power to suggest just those qualities of heroism and heroics."
The movie was a massive hit, setting off records at the box office. With this it would naturally spawn multiple sequels. The movie was also praised by critics with Roger Ebert calling it, "a wonderous combination of all the old-fashioned things we never really get tired of adventure and romance, heroes and villains, earthshattering special effects, and you know what else? Wit." Ebert would later include this in his famous list of great movies.
A wonderful adaptation of the Ernest Hemingway novel.
Though many don't consider Across the River and Into the Trees one of Hemingway's lesser novels, director Paula Ortiz (with her first (mostly)English language film) captures the power of even the author's lesser work. This is the type of film that takes its time and where the story isn't as much the point as the characters and the setting. Because of this though the story moves at a leisurely pace, it does not take long until I simply got whisked into the world of the film. Our main character (who is brilliantly played by Liev Schreiber) is the perfect Hemmingway protagonist. He is a tough guy who has become jaded and cynical because of his military life and having faced two world wars. The character is a perfect mesh of toughness and vulnerability. They these words both describe him, the do not feel like contradictions but simply two parts that make a whole person. If there is an actor capable of making such a character work, it is Liev Schreiber. He perfectly captures the complexities of this character and makes him feel incredibly real to us. The romance in this movie is also wonderful with Matilda De Angelis having incredible chemistry with Liev Schreiber. This movie captures what is the most important aspect of relationships (romantic or otherwise) in movies. That is that both characters bring out something in the other. These two characters bring out each other's vulnerabilities while also making the other feel real joy in the midst of the pain. Yet in this movie Vience is just as much a character as any of the human characters. This film makes us feel like we have taken a trip to Vience for nearly two hours. Not only does the film perfectly capture the visual beauty of its setting but it also shows how the setting effects our main characters. This movie could have not taken place anywhere else. If it did it would not be the same movie.
This movie finds the incredible beauty in what is even considered one of Hemingway's lesser works. It is simply a must see.
