Hello my friends and welcome back for another service of Cowboy Church.
Today's musical selection begins with Roy Rogers and Dale Evans with Jesus Loves the Little Children. Jesus would state, “Truly I tell you, unless you change and become like little children, you will never enter the kingdom of heaven. Therefore, whoever takes the lowly position of this child is the greatest in the kingdom of heaven. And whoever welcomes one such child in my name welcomes me." There is no doubt that Jesus did love the little children and he loves us big children too. If we will humble ourselves and become like little children, the blessings he has for us are immeasurable.
This is followed by Ricky Scaggs and The Whites 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.
Afterwards is The Carter Family's classic 1927 recording of Can the Circle Be Unbroken. This song was based off of the 1907 Christian hymn (written by Charles H. Gabriel and Ada R. Habershon), Will the Circle Be Unbroken. Uncle A.P. Carter reworked this song changing the lyrics to be about the death of a mother. Though this version would be covered by an incredible number of artists, many of them would change the title back to Will the Circle Be Unbroken as well as changing that one word in the chorus. However, these cover versions would use A.P.'s lyrics for the rest of the song. This is one of my all-time favorite songs, because it is a sad song, but one which also finds hope within its darkness. This is a song about trusting in God in times when it is very difficult to, which is something many gospel songs don't cover but which many Christians struggle with.
Then comes Susan Raye with Farther Along. This comes from her 1973 gospel album, Hymns by Susan Raye.
Next comes the Sons of the Pioneers with their 1937 recording of The Touch of God's Hand. This song was written by Bob Nolan, one of the group's founding members and one of my favorite songwriters. Nolan also takes lead vocals on this song. Lloyd Perryman plays rhythm guitar. Karl Farr is on guitar. Sam Koki is playing Steel Guitar. Pat Bradey (later Roy Rogers' TV sidekick) plays bass. Hugh Farr is on the fiddle.
Then comes Rex Allen with his 1953 recording of I Thank The Lord.
Today's musical selection ends with Johnny Cash and Billy Graham with Preacher Said, Jesus Said. Johnny and Billy were great friends and John often appeared at the Billy Graham crusades and played a major role in leading many people to Christ. This song has Johnny singing with inserts of Billy Graham quoting Jesus. The message of this song was not only timely then as well as timely now. It will always be timely. When things are darkest and we don't know who to believe or trust, we know that we can always count on the words of Jesus Christ to be as true as they ever were. This recording comes from John's 1971 album, The Man in Black.
Now for a sermon from S.M. Lockridge.
Now for the second episode of the Lone Ranger TV series.
Psalm 57
For the director of music. To the tune of “Do Not Destroy.” Of David. A miktam. When he had fled from Saul into the cave.
1 Have mercy on me, my God, have mercy on me,
for in you I take refuge.
I will take refuge in the shadow of your wings
until the disaster has passed.
2 I cry out to God Most High,
to God, who vindicates me.
3 He sends from heaven and saves me,
rebuking those who hotly pursue me—
God sends forth his love and his faithfulness.
4 I am in the midst of lions;
I am forced to dwell among ravenous beasts—
men whose teeth are spears and arrows,
whose tongues are sharp swords.
5 Be exalted, O God, above the heavens;
let your glory be over all the earth.
6 They spread a net for my feet—
I was bowed down in distress.
They dug a pit in my path—
but they have fallen into it themselves.
7 My heart, O God, is steadfast,
my heart is steadfast;
I will sing and make music.
8 Awake, my soul!
Awake, harp and lyre!
I will awaken the dawn.
9 I will praise you, Lord, among the nations;
I will sing of you among the peoples.
10 For great is your love, reaching to the heavens;
your faithfulness reaches to the skies.
11 Be exalted, O God, above the heavens;
let your glory be over all the earth.
Thanks for joining me. Come back next week for another service of Cowboy Church. Happy trails to you until we meet again.
Run Time: 11 minutes. Studio: Pathé Frères. Director: James Young Deer. Writers: James Young Deer. Main Cast: Lucille Young
Despite being little remembered today, White Fawn's Devotion has a significant historical importance as the first known film directed and written by a Native American and starring a mostly Native American cast.
This short borrows much of its story elements from the 1905 stage melodrama, The Squaw Man (which would be adapted for the screen multiple times by Cecil B. DeMille). In this film a young girl is the child of a white man and a Native American Woman. When her father inherits a fortune out East, the mother believes that he is going to leave her. She then attempts suicide. The daughter walks in and thinks that her father has killed her mother. She tells the tribe about this, and they come after the father to kill him.
This is more than a simply historic curio. It is a solid melodrama that still holds up pretty well today. Though it may not have the advanced technical filmmaking you might see in a D.W. Griffith Biograph short, it manages to tell a concise and easy to follow story in only 10 minutes with very few intertitles. A lot happens in this short little movie, but it never once loses its audience. More than this the story is quite engaging and the action scenes (while simple and straightforward) are pretty exciting.
Pathé had made a series of westerns in Europe, however they were often criticized for their European, especially in the clothing. The response to this was to create something more authentic by hiring a Native American director and shooting in the U.S. (though it was still filmed in the East). The director and writer would be James Young Deer. Born in Nebraska of Winnebago ancestry, Deer had quite a career. He started had toured with Wild West shows and circuses. He would eventually land a career appearing in movie westerns, sometimes alongside his wife Lillian St. Cyr (who sometimes used the stage name Princess Redwing). As well as starring in films, Deer would also write for them. Despite how little known he is even among cinephiles, he is believed to have directed approximately 120 films between 1910 and 1913. Sadly, he was never credited for any of these films.
The interracial marriage was quite daring for its time. What is more incredible is the ending. I usually wouldn't discuss spoilers on this blog but since the last few feet of film are missing, I feel that it is important to do here. Still if any of you haven't seen the film, I recommend watching it before reading further. The girl's mother has attempted suicide but only wounded herself. Luckily it is found out that she is actually alive just before the tribe can kill the father. This is where the film now ends. Luckily Pathé publicity tells us what happens after this. "The Combs take their departure and return to their home, for he feels he will be happier with his family on than if he goes out East to claim his legacy." This type of happily ever after ending for an interracial couple was unheard of in fiction at this time, making this quite remarkable.
When in a later film (which is unfortunately lost today) called Red Deer's Devotion (1911), Deer switched the sexes of the interracial couple, this was met with much criticism. Moving Picture World wrote, "Another feature of this film would not please a good many. It represents a white girl and an Indian falling in love with each other. While such a thing is possible, and undoubtedly has been done many times, there is still a feeling of disgust which cannot be overcome when this sort of thing is depicted as plainly as it is here."
James Young Deer was not the only American filmmaker making films about Native Americans. In fact, from 1908 to 1912 there were a slew of pictures about Native Americans. Unfortunately, by 1913 Moving Picture World stated, "Indian dramas ... are played out." They were not alone in this sentiment. Film Companies were now hanging signs stating, "No Indians Wanted." Sadly, this meant that James Young Deer's movie career was coming to an end.
For anyone interested in watching this film, you can do so below.
Resources Used
Liner notes for the DVD box set, Treasures from American Film Archives by Scott Simmon
Hello my friends and happy Saturday morning. Once again it is time for some classic cartoons.
Today's cartoon selection begins with a true classic starring Porky and Slyvester, Claws for Alarm (1954). This was the second of two cartoons (both directed by Chuck Jones) featuring Sylvester as the cowardly cat that must protect his owner Porky for murderous mice (the first being Scaredy Cat (1948)). Unlike other appearances of Sylvester, here the cat is treated more like a real cat and has no ability to speak. Chuck Jones would use this basic formula again for Jumpin' Jupiter (1955). That film would again feature Sylvester as a cowardly cat that must protect Porky. However, in that cartoon he would protect his master from a space alien rather than mice. Claws For Alarm would later be used in the feature length compilation movie, Daffy Duck's Quackbusters (1988).
Next is the New 3 Stooges cartoon, Tee for Three (1965). These cartoons feature the voices of the real Stooges who also appear in the opening and closing live action segments. About the live action segments Curly Joe Derita would state, “There were 156 cartoons and we made only 40 live-action segments. So, after they ran the whole 40, they’d just start over by using these same introductions on new cartoons. This turned out to be misleading because viewers would say, ‘Oh, I’ve seen this one before.’ and they’d turn off the television. They didn’t know it was a new cartoon." In the cartoon here the Stooges play a game of golf. They had previously played golf in the classic live action short film, Three Little Beers (1935). However, no gags are borrowed from that previous short, and the story is completely different.
Now for the Talkartoons short, Silly Scandals (1931). This film marks the first cartoon in which Betty Boop has her first name.
It is now time for an early Silly Symphonies cartoon, The Merry Dwarfs (1929). For Disney buffs one of the most appealing things about the Disney films of the 1920's is that many of them were directed by Walt Disney himself. While these cartoons may not be a polished or sophisticated as the Disney films of the mid to late 1930's and 40's, they give us a peek into the creative mind of one of the most important names in film history. Though there are no animation credits on this cartoon J.B. Kaufman and Russell Merritt's indispensable book about the Silly Symphonies states that Ub Iwerks, Les Clark, Johnny Cannon and Wilfred Jackson worked on this film. The background art is by Carlos Manriquez, who worked on many of the Silly Symphonies of the late 1920's and early 1930's. This film opened in New York, December 11-17, 1929, with the feature film, The Sky Hawk (1929) at the Gaiety theatre. It played at Hollywood's Grauman's Chinese Theatre running from January 17- April 11, 1930, with the feature film The Rouge Song (1930), which features one of the earliest feature film appearances of Laurel and Hardy. The short made its TV debut on an episode of The Mickey Mouse Club that aired on February 3, 1956.
Now it is time for a commercial break.
Now we join our friend Mighty Mouse in Gypsy Life (1945). This marked the only Mighty Mouse cartoon to be nominated for an Academy Award. The other cartoons nominated that year included Donald's Crime (Disney, 1945), Jasper and the Beanstalk (George Pal, 1945), Life With Feathers (Warner Brothers, 1945, the first appearance of Slyvester), Poet and Peasant (Walter Lantz, 1945), Quiet Please (MGM, 1945) and Rippling Romance (Columbia, 1945). The winner was Quiet Please marking the third time a Tom and Jerry cartoon won the Oscar.
Up next is the Walter Lantz produced cartoon, The Big Cat and the Little Mousie (1938). I personally have a fondness for these black and white Walter Lantz cartoons. This is a really charming and fun film. It may not be exactly hilarious, but it does have a real charm to it. The whole sequence with the drunk mouse is similar to a famous sequence in the Disney cartoon, The Country Cousin (1936) and was perhaps inspired by it. While the character animation here may not be as impressive as that of the Disney film, it is still quite well done. A review in The Film Daily stated, "Kids and grownups alike will find this yarn amusing." A review in the Motion Picture Herald calls this film "unnecessary" and states, "The background commentary with its 'teeny weeny little mousie,' has a burlesque ring in light of the theme of this Oswald Rabbit subject."
Now Mickey and friends in Potato Land (2013).
Now to close with a song.
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
Of Mice and Magic: A History of the American Animated Cartoon by Leonard Maltin
Walt Disney's Silly Symphonies: A Companion to the Classic Cartoon Series by Russell Merritt and J.B. Kaufman.
The Three Stooges Scrapbook by Jeff Lenburg, Joan Howard Maurer and Greg Lanburg
In this film, a down on his luck American drummer takes a job in Korea playing for a TV show about finding the next K-Pop star. Unexpectedly this results in him meeting the son, who is one of the constants, he never knew he had.
The storyline of this movie doesn't do anything we haven't seen before, and you always know exactly what is going to happen next. However, despite this the movie is simply very charming. Much of this comes from the father son relationship. This relationship is just incredibly sweet and heartwarming. You can see both of them growing as a person, the more time they spend together. The father becomes more mature and less selfish, the more time they are together. Meanwhile the son becomes more confident and willing to put himself out there. All of this feels very real and natural. The chemistry between Anderson .Paak (who also directed and co-wrote the movie (as well as written some of the songs)) and Soul Rasheed is simply phenomenal making you never doubt that you are really looking at a father and son. I found the moments in which they shared the screen simply warmed my heart.
Add to this some good music (Earth, Wind and Fire even appear in the film), funny moments and a good supporting cast and you simply have a charming movie.
Yes, this may be incredibly predictable and familiar, but it is also a real charmer.
This movie tells the story of an older couple who travel to Amsterdam. On their trip they find just how much they have drifted apart and must deal with their failing marriage. For a movie like this, one of the most important aspects is who is cast as the couple. Luckily these characters are played by Lesley Manville and Ciarán Hinds. Both of them are truly fantastic here fully bringing out the humanity and vulnerability behind these characters. Their performances constantly glue us to the screen, even with the slow pace. Another expected but important aspect for a film like this is the visual look. This movie very much captures the visual beauty of Amsterdam and after watching this film you will want to go there. Yet what really makes this movie work so well is the complexity of the main couple's relationship. I won't give much away, but what I loved about this movie is that there is not a right side or a wrong side in this relationship. Instead, these are simply two people, who view the world in completely different ways. There is no point where a character cheats on the other nor do they set out to intentionally hurt one another. Rather it is simply their extreme differences in worldviews that causes them to wonder if they are actually compatible. This makes the film all that much more moving, thought provoking and heartbreaking.
This is a rare modern movie in which I think it should have been longer. 90 minutes is simply not enough time to tackle all the complex social matter that this movie wants to and because of this some of the most interesting ideas are not explored to the depth they should be. While the ending is supposed to be ambiguous, it instead comes off as rushed and abrupt.
Despite any flaws though, this is an excellent movie.
In this film a woman is traveling through each alternative universe in the multiverse. In each of these alternative universes she kills the man who killed her teenage daughter. She gets so caught up in revenge and violence that she starts to lose grip on her own humanity.
It is no secret that by now the whole multiverse premise has been done to death. That makes it all the more impressive that this film was able to make it feel fresh. Much of this is due to how it approaches this familiar premise in a unique way. While most Multiverse movies show worlds that are drastically different from each other. However here the differences between these different universes are very miniscule to the point where it is difficult to tell the difference. This fits the story and themes of this film perfectly. It places our main character fully in a loop, repeating the exact same actions in nearly the exact same setting. We understand how with this she can get into the position of becoming completely dehumanized. The story also stands out from many other multiverse films as the sci-fi elements take a backseat to characters. This is first and foremost a character study. Both our main character and the teenage girl she befriends along the way are very well-developed characters who are more complex than your average heroes or villains. We find ourselves connecting extremely deeply with these characters, almost feeling that we know them as well as we know ourselves. The relationship between them is also incredibly well developed and at times even quite touching.
This movie is also boosted a very strong villain, who is so incredibly real that is even more frightening than any supernatural monster we might see in a horror film. Also, heavily because of this character, the movie has one of the most intense and suspenseful climaxes I have seen in a new movie in quite a while.
Exciting news for classic movie fans who will be in Southern California this March. The Cinecon Classic Film Festival is holding its second annual pop-up day on Saturday March 21 from 9:30am to 8:30pm. It will be held at my favorite place to watch movies El Segundo's Old Town Music Hall (140 Richmond St, El Segundo, CA 90245).
For any of you who are not familiar with the Cinecon Classic Film Festival, it tends to focus on rare old movies and TV shows that are hard to find and many of which even the most dedicated film and TV buffs have never even heard of. There are also premieres new restorations of classic movies and special guests who are related to the films. This pop-up day is a small sampling of what a Cinecon film festival is, and all funds will go to support the festival as well as Old Town Music Hall.
This year's pop-up day will begin with the Paramount short, Find What's Wrong (1938).
After this will be a rare comedy movie that hasn't been seen in decades, Two Gals and a Guy (1951). This movie stars Robert Alda, Janis Paige and James Gleason. It also boasts the film debut of actress Patty McCormack, who will be appearing at the event in person.
Then comes a new restoration of the silent film, The Johnstown Flood (1926) starring George O'Brien and Janet Gaynor (the stars of F.W. Murnau's Sunrise: A Song of Two Humans (1927)).
After a lunch break is Sterling Yearian playing Old Town Music Hall's own 1925 Mighty Wurlitzer pipe organ. This is followed by a new restoration of the classic Laurel and Hardy silent short, Big Business (1929).
Then comes a rare Paramount short film entitled Ted Husing's Television Preview (1940).
Afterwards is a 1960 episode of the classic TV western, The Rifleman. The episode features child actress Gigi Perreau, who will be at the event in person.
Then comes a new restoration of the Tru-Color Roy Rogers western, Night Time in Nevada (1948).
Afterwards is a new 2K restoration of the silent feature length movie, The Four Feathers (1929) starring William Powell, Richard Arlen and Fay Wray.
The event ends with a new 4K restoration of House of Strangers (1949) starring Edward G. Robison and Susan Hayward. The film will be introduced by Kevin Schaeffer, the director of restoration and library management for the Walt Disney Company as well as Edward G. Robison's granddaughter, Francessca Robinson.
If you wish to buy tickets for this event you can do so at Cinecon's Website.
Though it may not include the average person you pass on the street, Pre-code Hollywood has a surprisingly large and dedicated following. This era from 1930 to 1934, features many pure Hollywood classics that hold up massively well today. Some of these movies include such masterpieces as The Divorcee (1930), All Quiet on the Western Front (1930), Frankenstein (1931), I Am a Fugitive from a Chain Gang (1932), Three on a Match (1932), Grand Hotel (1932), Golddiggers of 1933 (1933), King Kong (1933) and Baby Face (1933). In this book historians Kim Luperi and Danny Reid picked out 50 classic Hollywood films (including those previously listed) from this era and take a close look at them. Their critical looks at these movies help bring great insight that allows us to enjoy these films on a greater level.
The research into these films is even more incredible. One of the most prevalent myths about Pre-Code Hollywood is that there was no censorship whatsoever. While the production code was not strictly enforced at this time, filmmakers still had to answer to local and state censor boards. This book takes a very close and eye-opening look at the interactions between studios and censor boards. This is an area of film history I was aware of, but it turns out I only knew the surface of. You may go into this book thinking you know a lot about Pre-code Hollywood, but you will soon learn just how wrong this assumption is.
This book also works because of the two authors' writing style. This book is very well written and articulate but at the same time breezy and unpretentious. This writing style can full engage film scholars while still being readable and fun for causal readers.
This is a truly essential book for fans of classic movies.
Hello my friends and welcome back for another service of Cowboy Church.
Today's musical selection begins with the King of the Cowboys and The Queen of the West, Roy Rogers and Dale Evans with Jesus in the Morning. This song reminds us that we are not only to leave a small part of the day with Jesus as our focus but all day long as well as everyday. We should wake up each morning with Jesus on our mind and go to bed each night the same way. While few of us will succeed with this every day, we will find that each day we do it will be an enriching day that will makes us grow as a person. This song comes from Roy and Dale’s 1973 gospel album, In the Sweet By and By.
This is followed by NEEDTOBREATHE and Carly Pearce with Fall On Me.
Afterwards is Johnny Cash with This Train is Bound for Glory. This wonderful recording comes from John's 1979 album, A Believer Sings the Truth. This was a double length gospel album and Columbia Records felt that such an album from John could never be successful. However, Columbia allowed John to release the album on its own and it was successful earning a spot in the Country Top 50. A shorter version of the album called I Believe would be released in 1984, which would feature a select few songs from the double album. A Believer Sings the Truth would not find its way to CD until 2012.
This is followed by the Turney Brothers (Frank Luther/Carson Robison) with their 1929 recording of At the Cross. This song was written by Issac Watts. Issacs was a church pastor in the 1700's and often wrote hymns and poems to go along with his sermons, and some of the hymns (including this one) are still known today with the most famous being Joy to the World. Though little is know about the origins of these songs, we do know that Issac was an influence on another one of the great hymn writers, Fanny Crosby (Blessed Assurance, Draw Me Nearer), who after hearing one of Issac's hymns at a revival meeting in 1851 gave her life to the Lord and began writing her great hymns.
Then comes Cowboy Copas with Wreck on the Highway. This song was written Dorsey Dixon. The song is Dixon's most famous composition; however, he received no royalties from it. He tried to sue Roy Acuff (who had a massive hit with the song) over it. This was eventually settled out of court. Cowboy Copas' version comes from his 1963 album, Beyond the Sunset.
Next is The Sons of the Pioneers with The Woodsman Prayer from their 1963 album, Hymns of the Cowboy. This song was written by Stan Jones. Stan is best known for writing the cowboy music classic, Ghost Riders in the Sky. He also wrote the theme song for John Ford's The Searchers (1956), which The Sons of the Pioneers sang in that film.
Today's musical selection closes with Tammy Wynette with He's Got the Whole World in His Hands. This comes from her 1969 gospel album, Inspiration.
Now for the first episode of TV's The Lone Ranger.
Now for a sermon from the Reverand Billy Graham.
Psalm 57
For the director of music. To the tune of “Do Not Destroy.” Of David. A miktam. When he had fled from Saul into the cave.
1 Have mercy on me, my God, have mercy on me,
for in you I take refuge.
I will take refuge in the shadow of your wings
until the disaster has passed.
2 I cry out to God Most High,
to God, who vindicates me.
3 He sends from heaven and saves me,
rebuking those who hotly pursue me—
God sends forth his love and his faithfulness.
4 I am in the midst of lions;
I am forced to dwell among ravenous beasts—
men whose teeth are spears and arrows,
whose tongues are sharp swords.
5 Be exalted, O God, above the heavens;
let your glory be over all the earth.
6 They spread a net for my feet—
I was bowed down in distress.
They dug a pit in my path—
but they have fallen into it themselves.
7 My heart, O God, is steadfast,
my heart is steadfast;
I will sing and make music.
8 Awake, my soul!
Awake, harp and lyre!
I will awaken the dawn.
9 I will praise you, Lord, among the nations;
I will sing of you among the peoples.
10 For great is your love, reaching to the heavens;
your faithfulness reaches to the skies.
11 Be exalted, O God, above the heavens;
let your glory be over all the earth.
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 real classic, Gold Diggers of '49 (1935). This short film was directed by the one and only Tex Avery. It was the first film, he directed for Warner Brothers and much of his famous style is already here. This cartoon does not feel like the Looney Tunes and Merrie Melodies shorts that came before it. Instead, this cartoon has a faster pace and wackier sense of humor. While there is no doubt that Tex would have timed some of these gags even faster later in his career, you can clearly see the inklings of what would become his signature style. This is also the first black and white Looney Tune to feature Porky Pig (though the character had appeared in a color Merrie Melody beforehand). This is important as Porky would soon become the main star of the black and white Looney Tunes series. Yet in this film he is a supporting character. The real star is Beans the Cat. Both of these characters had made their debut in the color Merrie Melodies short, I Haven't Got a Hat (1935). Beans would remain the star of the Looney Tunes series for short while until Porky took over the series.
Next is the Talkartoon cartoon, Accordion Joe (1930).
Now for the Terry Toons cartoon, The Tale of a Dog (1959). This film came out after Paul Terry had sold Terry Toons to CBS. CBS as well as having the rights to the cartoons also retained the entire Terrytoons staff. As well as airing the old films on TV, CBS was interested in keeping the theatrical cartoons from the studio going and did so with Gene Deitch as the new artistic supervisor. Gene Deitch had worked with UPA, a studio that specialized in flatter more artistic stylized design work and this look can be seen in almost every Terry Toon made during this period. Cartoon fans today know Gene Deitch best for some truly underwhelming Tom and Jerry shorts in the 1960's. This is not fair though as this was just a small part of his career and elsewhere, he made some great films.
Now for an earlier cartoon from the Terry Toons studio when Paul Terry was still the studio head, A Day in June (1944).
Now it is time for a commercial break.
Next comes one of Disney's funniest cartoon shorts, Der Fuehrer's Face (1943). This film grew out of a Donald Duck short about paying your taxes during war time called The New Spirit (1942). There was going to be a scene (in a story treatment by Joe Grant and Dick Huemer) in that short that featured a radio announcer talking about the horrors of living in a totalitarian state. This was not used in that short, but the idea stayed in the heads of those working at the Disney studio. These ideas grew into a cartoon that would feature Donald Duck living in Nazi Germany. Jack Kinney, Disney's most comedic and satiric cartoon director being placed in the director's chair guaranteed that this short would be a comedic masterpiece as well as an effective piece of political commentary. The cartoon was originally going to be titled Donald Duck in Nutziland. However, it would be retitled Der Fuehrer's Face after the satirical and catchy song Oliver Wallace wrote for the cartoon. Disney studio staffer Jim Macdonald remembered Wallace improvising the song one day at Walt's request. Macdonald stated, "He did that in about ten minutes. That's spontaneity!" Before the cartoon even reached theaters Spike Jones and his City Slickers released a recording in late 1942 and had a massive hit with it. This film also benefits from some top-notch animation. John Sibley animated the hilariously cartoony marching band animation at the start. The real highlight of the cartoon is the great montage sequence which was animated by Les Clark and Hugh Fraser. This cartoon we earn Donald Duck, his one and only Oscar. It later received the 22nd spot in Jerry Beck's must-own book, The 50 Greatest Cartoons.
Now for the New 3 Stooges cartoon, Stooges in the Woods (1965).
Next comes Oswald the Lucky Rabbit in The Prison Panic (1930). This is one of the Oswald films produced by Walter Lantz when Walt Disney discovered he didn't have the rights to the character he created, which led to Disney creating Mickey Mouse. These Lantz Oswalds were actually my introduction to the character, and I guess I will always have a soft spot for them.
Now to close with a song.
Thanks for joining me. Come back next week for more animated treasures. Until then may all your tunes be looney and your melodies merry.
Resources Used
The 50 Greatest Cartoons edited by Jerry Beck
Looney Tunes and Merrie Melodies: A Complete Illustrated Guide to the Warner Brothers Cartoons by Jerry Beck and Will Friedwald
Donald Duck: The Ultimate History by J.B. Kaufman and David Gerstein
An excellent biopic of the Christian rock band MercyMe.
Despite the prevalence of both musical biopics and sequels in modern cinema, a sequel to a musical biopic is rare. That is what makes I Can Only Imagine 2 work so well. It tells the story of what happens after where most musical biopics stop and about how everything doesn't necessary work out perfectly after your dreams come truly. With this theme the sequel takes a more serious and sometimes even melancholy tone. All the while though in true Christian movie fashion, this film tells how God is by your side through the tough parts of life and that even in your darkest days you can find hope. That the story is not afraid to go to darker and more serious places makes this message all the more effective. One may accuse this story of sermonizing at times, but the sermons fit the story and the characters. They are also quite well written (especially when dealing with the story behind the classic hymn, It is Well).
This movie also benefits greatly from an excellent cast. John Michael Finley is still great as the band's lead singer Bart. Trace Adkins is again fantastic as the band's manager. Sammy Dell is an excellent addition as Bart's teenage son holding his own with the rest of the great cast. However it is Milo Ventimiglia as the band's opening act, Tim Timmons who truly steals the show. He is simply wonderful here bringing a real heart to the film as well as some of the movie's most effective comedic moments. (On a sidenote it is strange how we actually hear more Tim Timmons music than MercyMe music in this film).
My main complaint with this movie however is that the focus is so much on Bart, his teenage son and Tim that we don't really get to know or spend time with any of the other characters. These characters are mostly just kind of there without us really having any connection to them. The sole exception is the band's manager yet that is more because of Trace Adkins' performance and a few pretty funny lines he is given than any actual character development.
Despite these flaws though this is a very emotionally effective biopic.
This movie begins with a clip of Elvis stating that his story had never been told from his point of view. This film however is completely from Elvis' point of view. It consists of interview clips, concert footage and behind the scenes clips. Every second is full of pure bliss for Elvis fans. The musical performances are simply wonderful. The song selection itself is fantastic ranging from many of Elvis' biggest hits to covers of the likes of The Beatles, Bob Dylan and Three Dog Night to gospel standards. Not only this but the performances show Elvis at his best. His voice sounds truly wonderful and his stage presence is incredible making him just as much a joy to watch as he is to listen to. Putting this film in IMAX helps give us the feeling of being at a rock concert. The interview footage mostly features Elvis talking about what goes through his mind as he puts on a show giving us a greater emotional connection to the performances and the work that goes into being such a master showman. I can picture someone who has previously not been an Elvis fan become a fan after watching this film, which is the ultimate achievement for a movie like this.
Yet it is not just the quality of the induvial parts but also the rarity of them that makes this special. Many of these clips are not familiar to even the most dedicated Elvis fans. This alone makes this an essential watch for any fan who feels they have seen all there is to see of Elvis. That the new footage is so good is just a bonus.
One can complain about how safe this movie plays it, not ever really delving into Elvis' flaws. However, when a movie is this much of a joy to watch that is hardly a problem.
I don't know if this will go down in film history along such great rock and roll movies as A Hard Day's Night (1964), The Last Waltz (1978) or Stop Making Sense (1984) but I wouldn't be surprised if it does.
This adaptation is more Emerald Fennell than Emily Brontë.
Emerald Fennell is definitely a director with her own style. Her movies (of which this is her third) offer maximalist filmmaking and very frank sexuality. This has worked quite well for her previous films, but it hardly fits Emily Brontë's beloved romance novel. Here the source material and the director's style seemed very much at odds with each other. I am no prude (Pedro Almodóvar is one of my favorite filmmakers) but there is simply no reason for Wuthering Heights to be filled with sex scenes. The problem is not that these sex scenes are so excessive or completely frank but rather that they add nothing to this story. Sometimes these sexual scenes even go against what the movie should be about. At one point this movie seems less about two people deeply in love who can't be together and instead two people who simply can't keep their pants on when they are near each other. Cathy and Heathcliff seem more like they are simply trying to have sex behind Cathy's husband's back then being profoundly in love. Worse is what is done to the character of Isbella. This almost seems like a filmmaker's attempt to explore a very kinky fetish than something that belongs in an adaptation of a literary classic. Joseph and Zillah become just a couple of very horny young people. Again, this kind of overt sexuality may have worked in Fennell's previous films but there is simply no need for it in this type of a story.
This movie started off fairly strong during the scenes with the main characters as kids. I actually found myself fairly engaged in these more straightforward and non-sexual scenes. Even the first few scenes with them as adults worked quite well. Then Joseph and Zillah have very kinky sex in a horse stable, and it is all downhill from there. The film becomes completely about sex after that often-substituting character development and depth for smut. In an era where no amount of onscreen sexuality can truly be shocking anymore this smut felt distracting and took away from time which could have been better used developing various characters and story points.
I will admit Margot Robbie is excellent in the lead role. Despite being an unfortunate case of whitewashing (which somehow can still be happening today) Jacob Elordi as Heathcliff has great chemistry with her.
This movie could be worse, but I would recommend simply rewatching the 1939 film adaptation of this classic novel instead.
Charles Laughton is an actor who I am sure many people reading this blog are well acquainted with. He was a fine actor who was trained at London's Royal Academy of Dramatic Art. He began appearing on stage in 1926 and naturally it would not be too long until the movies came knocking. Though he is known for his larger than life and theatrical roles, he was also quite capable of more subtle performances including the terrifyingly cold and mostly emotionless mad scientist in the horror classic, Island of Lost Souls (1932). His filmography includes such classics as The Old Dark House (1932), The Sign of the Cross (1932), The Private Life of Henry VIII (1933), Ruggles of Red Gap (1935), Mutiny on the Bounty (1935), The Hunchback of Notre Dame (1939), The Paradine Case (1947), Witness for the Prosecution (1957) and Spartacus (1960).
He only directed one movie. However, that film is a masterpiece, The Night of the Hunter (1955). He would however direct multiple Broadway plays including The Fatal Alibi (Feb 08, 1932 - Mar 01, 1932), Don Juan in Hell (Nov 29, 1951 - Dec 31, 1951) (Apr 06, 1952 - May 24, 1952), John Brown's Body (Feb 14, 1953 - Apr 11, 1953), The Caine Mutiny Court-Martial (Jan 20, 1954 - Jan 22, 1955) and Major Barbara (Oct 30, 1956 - May 18, 1957).
Here is an article from The New Movie Magazine (dated December 1934). If you have any trouble reading it click on the pages below and use your touch screen to zoom in. If you don't have a touch screen, click here.
Though being best known as a dramatic actor Laughton had a gift for comedy. This can be seen in the film, Abbott and Costello Meet Captain Kid (1952).
Watch a full movie with Charles Laughton below. The film is Jamica Inn (1939) and was directed by none other than Alfred Hitchcock.
Hello, my friends and welcome back for another service of Cowboy Church.
We start our music off with Roy Rogers, Dale Evans and their children (Linda, Dusty, Sandy, Debbie and Dodie) performing a lovely little song called Jesus Wants Me For a Sunbeam from Roy and Dale's 1960 album Jesus Loves Me.
This is followed by Malcom Desmond with his 1933 recording of The Last Round Up.
Afterwards The Charlie Daniels Band performs 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. This version comes from the band's 2002 album, How Sweet the Sound: 25 Favorite Hymns and Gospel Greats. Unlike the group's earlier Christian albums, which contained original songs, this album is made up of old gospel classics. In my opinion this is one of the band's best albums of the 21st century.
Next is Tompall Glaser with Lean on Jesus. This recording comes from his 2006 gospel album, Outlaw to the Cross.
Then comes Johnny Cash with Jesus Was a Carpenter. What I love about this song is that it takes about what happened back when Jesus was on Earth, but it puts it in a modern context even looking at many of today's political and social issues. This shows that the Bible is just as true today and that even after all these centuries we can still apply it to what is going on in our world today. The very idea of praising Jesus in socially conscious folk song, paints a great picture of what Johnny Cash and his music were all about. This recording comes from his 1970 album; Hello I'm Johnny Cash.
This is followed by Tammy Wynette with He. This recording comes from her 1969 gospel album, Inspiration.
Then comes The Sons of the Pioneers with their 1947 recording of The Sea Walker. This song was written by Tim Spencer, one of the group's founding members. Music was a major part of Tim's life from very early on. In fact when he was only 3 years old he was already singing at the church he grew up in. His love of things cowboy and western related also began very early as he had grown in awe of western movies and screen cowboys like Tom Mix, Hoot Gibson, William S. Hart and others were his boyhood heroes. With this it is no surprise that in 1931, he went to California to see how his talents could be used in Hollywood. Yet music always remained a major passion for him. As he worked in a warehouse, he would spend his weekends and time after working going around to all the country music radio shows, getting to know all the people he could. This is how he met fellow founding members of the Sons of the Pioneers, Bob Nolan and Leonard Slye (later Roy Rogers). The Sea Walker as well as being written by Tim also features him as the lead singer.
Today's musical selection ends with Chelsea Moon and Uncle Daddy with 'Tis So Sweet to Trust in Jesus. 'Tis So Sweet to Trust in Jesus was another hymn born out of personal tragedy. Louisa M. R. Stead was happily married and one day her, her husband and their four-year-old daughter had a day at the beach, when they heard a scream. They went to see where the scream was coming from and saw a little boy drowning in the sea. Her husband tried to pull the boy out of the water, but the boy pulled the husband down with him. Louisa and her daughter Lilly watched helplessly as the two died before their eyes. It is unknown when the song was actually written, but it is known that it was inspired by this tragedy and how God helped pull her through it as she soon went back on the mission field. The song was first published in 1882 a collection of hymns entitled Songs of Triumph.
Now for a sermon from the Reverend Billy Graham.
Today's movie is The Lucky Texan (1934) starring John Wayne.
Psalm 78
A maskil[a] of Asaph.
1 My people, hear my teaching;
listen to the words of my mouth.
2 I will open my mouth with a parable;
I will utter hidden things, things from of old—
3 things we have heard and known,
things our ancestors have told us.
4 We will not hide them from their descendants;
we will tell the next generation
the praiseworthy deeds of the Lord,
his power, and the wonders he has done.
5 He decreed statutes for Jacob
and established the law in Israel,
which he commanded our ancestors
to teach their children,
6 so the next generation would know them,
even the children yet to be born,
and they in turn would tell their children.
7 Then they would put their trust in God
and would not forget his deeds
but would keep his commands.
8 They would not be like their ancestors—
a stubborn and rebellious generation,
whose hearts were not loyal to God,
whose spirits were not faithful to him.
9 The men of Ephraim, though armed with bows,
turned back on the day of battle;
10 they did not keep God’s covenant
and refused to live by his law.
11 They forgot what he had done,
the wonders he had shown them.
12 He did miracles in the sight of their ancestors
in the land of Egypt, in the region of Zoan.
13 He divided the sea and led them through;
he made the water stand up like a wall.
14 He guided them with the cloud by day
and with light from the fire all night.
15 He split the rocks in the wilderness
and gave them water as abundant as the seas;
16 he brought streams out of a rocky crag
and made water flow down like rivers.
17 But they continued to sin against him,
rebelling in the wilderness against the Most High.
18 They willfully put God to the test
by demanding the food they craved.
19 They spoke against God;
they said, “Can God really
spread a table in the wilderness?
20 True, he struck the rock,
and water gushed out,
streams flowed abundantly,
but can he also give us bread?
Can he supply meat for his people?”
21 When the Lord heard them, he was furious;
his fire broke out against Jacob,
and his wrath rose against Israel,
22 for they did not believe in God
or trust in his deliverance.
23 Yet he gave a command to the skies above
and opened the doors of the heavens;
24 he rained down manna for the people to eat,
he gave them the grain of heaven.
25 Human beings ate the bread of angels;
he sent them all the food they could eat.
26 He let loose the east wind from the heavens
and by his power made the south wind blow.
27 He rained meat down on them like dust,
birds like sand on the seashore.
28 He made them come down inside their camp,
all around their tents.
29 They ate till they were gorged—
he had given them what they craved.
30 But before they turned from what they craved,
even while the food was still in their mouths,
31 God’s anger rose against them;
he put to death the sturdiest among them,
cutting down the young men of Israel.
32 In spite of all this, they kept on sinning;
in spite of his wonders, they did not believe.
33 So he ended their days in futility
and their years in terror.
34 Whenever God slew them, they would seek him;
they eagerly turned to him again.
35 They remembered that God was their Rock,
that God Most High was their Redeemer.
36 But then they would flatter him with their mouths,
lying to him with their tongues;
37 their hearts were not loyal to him,
they were not faithful to his covenant.
38 Yet he was merciful;
he forgave their iniquities
and did not destroy them.
Time after time he restrained his anger
and did not stir up his full wrath.
39 He remembered that they were but flesh,
a passing breeze that does not return.
40 How often they rebelled against him in the wilderness
and grieved him in the wasteland!
41 Again and again they put God to the test;
they vexed the Holy One of Israel.
42 They did not remember his power—
the day he redeemed them from the oppressor,
43 the day he displayed his signs in Egypt,
his wonders in the region of Zoan.
44 He turned their river into blood;
they could not drink from their streams.
45 He sent swarms of flies that devoured them,
and frogs that devastated them.
46 He gave their crops to the grasshopper,
their produce to the locust.
47 He destroyed their vines with hail
and their sycamore-figs with sleet.
48 He gave over their cattle to the hail,
their livestock to bolts of lightning.
49 He unleashed against them his hot anger,
his wrath, indignation and hostility—
a band of destroying angels.
50 He prepared a path for his anger;
he did not spare them from death
but gave them over to the plague.
51 He struck down all the firstborn of Egypt,
the firstfruits of manhood in the tents of Ham.
52 But he brought his people out like a flock;
he led them like sheep through the wilderness.
53 He guided them safely, so they were unafraid;
but the sea engulfed their enemies.
54 And so he brought them to the border of his holy land,
to the hill country his right hand had taken.
55 He drove out nations before them
and allotted their lands to them as an inheritance;
he settled the tribes of Israel in their homes.
56 But they put God to the test
and rebelled against the Most High;
they did not keep his statutes.
57 Like their ancestors they were disloyal and faithless,
as unreliable as a faulty bow.
58 They angered him with their high places;
they aroused his jealousy with their idols.
59 When God heard them, he was furious;
he rejected Israel completely.
60 He abandoned the tabernacle of Shiloh,
the tent he had set up among humans.
61 He sent the ark of his might into captivity,
his splendor into the hands of the enemy.
62 He gave his people over to the sword;
he was furious with his inheritance.
63 Fire consumed their young men,
and their young women had no wedding songs;
64 their priests were put to the sword,
and their widows could not weep.
65 Then the Lord awoke as from sleep,
as a warrior wakes from the stupor of wine.
66 He beat back his enemies;
he put them to everlasting shame.
67 Then he rejected the tents of Joseph,
he did not choose the tribe of Ephraim;
68 but he chose the tribe of Judah,
Mount Zion, which he loved.
69 He built his sanctuary like the heights,
like the earth that he established forever.
70 He chose David his servant
and took him from the sheep pens;
71 from tending the sheep he brought him
to be the shepherd of his people Jacob,
of Israel his inheritance.
72 And David shepherded them with integrity of heart;
with skillful hands he led them.
Thanks for joining me. Come back next week for another service of Cowboy Church. Happy trails to you until we meet again.
