The World's Greatest Super Friends: Lex Luthor Strikes Back (1979)

 

A wonderful episode. 

In this episode, Lex Luthor escapes from prison by switching places with Lois Lane. After escaping he captures each of the Super Friends. 

This episode is one of the most normal episodes of The World's Greatest Super Friends. They do not enter a fairytale or other famous fantasy story, instead this is a straightforward superhero adventure. However it is a simply wonderful one. Lex Luthor has never felt more threatening (at least in a Super Friends episode) than he does here. His early scene in a jail cell perfectly sets up why he is one of the most dangerous villains in the DC Universe even without superpowers. This episode truly shows how he can believably be a threat to the most powerful superheroes. Because of this, this episode is truly suspenseful and does make you truly wonder how our heroes will make it out alive (if they do). This is exactly the kind of superhero story that I love. It is a simple story, well told. There is also a lot of the wonderful artwork that I love about Hanna-Barbera cartoons of this time period. The backgrounds are wonderful to look at and the designs of the sun creatures are very well done. 

This episode also benefits (at least in my opinion) by the fact that Gleek the space monkey receives very little screen time. 

The only problem I have with this episode is the voices for Luthor's sidekick and the sun creatures. However this is a small complaint. 

This is pure superhero fun at its finest. 

  

Cowboy Church #249

 Hello my friends and welcome back to another service of Cowboy Church. 

Today's musical selection begins with Roy Rogers and Dale Evans singing It is No Secret What God Can Do. Roy and Dale's granddaughter, Julie Rogers Pomilia would write in her book, Your Heroes, My Grandparents: A Granddaughter's Love, "It would be impossible to write a book about my grandparents without at least mentioning their faith in God. Even those who didn't agree with their beliefs respected them. For they loved people with the kind of love that built bridges instead of walls, definitely a trait that endeared them to the public, which I witnessed time and time again throughout my life." 

Afterwards is Tex Ritter and Ralph Carmichael with Salvation Oh the Joyful Sound. Salivation does not just mean going to Heaven. It means having a close and personal relationship with the God who created you and who loves you. The fact that we can talk to or walk with God is simply incredible and should never cease to amaze us. 

Then comes Wilf Carter with What a Friend We Have in Jesus. This recording comes from his 1964 gospel album, Let's Get Back to the Bible. This hymn still has an important message for us today. When it seems like there is no one to turn to at any moment of our lives, Jesus is always there. He is always there to listen to us, no matter what. More than that though he deeply cares about every single one of us. A better friend than Jesus could never be found no matter how hard we try. What a friend we have in Jesus indeed. 

Following that is The Chuck Wagon Gang with their 1941 recording of I Love My Savior Too. The Chuck Wagon Gang which in their original incarnation consisted of D.P. Carter, his Son, Jim (Ernest) Carter and his daughters, Rose (Lola) Carter Karnes and Anna (Effie) Carter Gordon Davis. The group recorded mostly old gospel songs. Incredibly the group is still around today (though with completely new members). Because of another country music family with the same last name, they have been referred to as "the other Carter Family." 

Next comes Johnny Cash singing Let the Lower Lights Be Burning. In the notes for the box set Unearthed, John wrote, "This is a very special song for me, and I'll tell you what it means to me now. When my father was dying, he was in a coma, and all my brothers and sisters and I were gathered around the bed, and we felt like telling him goodbye. But my oldest sister Louise said, 'Let's sing to him.' So, we started singing 'Let the Lower Lights be Burning.' At some point I looked at him and, though he had been sound asleep in a coma for days, his lips started moving and he started singing that song along with us. The more we would sing it the more he sang. And he opened his eyes, and he looked around at us as we were singing. Ad of course everybody had a good cry as watched him and listened to him as he sang 'Let the Lower Lights be Burning' with us." 

Then comes George Jones with Mama's Hands. This song comes from George's 1974 gospel album, In a Gospel Way. 

Afterwards is Bob Dylan with Gonna Change My Way of Living from 1979 Christian album, Slow Train Coming (his first album after converting to Christianity). When we give our lives to the Lord, we have to give our whole lives. We can no longer live in the sins we did before. This may sound like it would not be worth it, but it is. The peace and that Jesus gives us is beyond anything the world can and will hold through good times and bad. 

Today's musical selection ends with The Sons of the Pioneers with their 1937 recording of Power in the Blood. 

Now for an episode of Gene Autry's TV show. 

Now for an essay from C.S. Lewis. 

For my thoughts are not your thoughts, neither are your ways my ways, declares the Lord. Isaiah 55:8-9

But seek first the kingdom of God and his righteousness, and all these things will be added to you. Matthew 6:33 

Many are the plans in the mind of a man, but it is the purpose of the Lord that will stand. Proverbs 19:21

For I consider that the sufferings of this present time are not worth comparing with the glory that is to be revealed to us. Romans 8:18 

Even to your old age I will be the same, And even to your graying years I will bear you! I have done it, and I will carry you; And I will bear you and I will deliver you. Isaiah 46:4

A righteous man cares for the needs of his animal. Proverbs 12:10

Look at the birds of the air; they do not sow or reap or store away in barns, and yet your heavenly Father feeds them. Are you not much more valuable than they? Matthew 6:26

The Lord is good to all, and his mercy is over all that he has made. Psalm 145:9 

And I heard every creature in heaven and on earth and under the earth and in the sea, and all that is in them, saying, “To him who sits on the throne and to the Lamb be blessing and honor and glory and might forever and ever!” Revelation 5:13

And I brought you into a plentiful land to enjoy its fruits and its good things. But when you came in, you defiled my land and made my heritage an abomination. Jeremiah 2:7 

Whoever is generous to the poor lends to the Lord, and he will repay him for his deed. Proverbs 19:17

Whoever oppresses a poor man insults his Maker, but he who is generous to the needy honors him. Proverbs 14:31

Thanks for joining me. Come back next week for another service of Cowboy Church. Happy trails to you until we meet again. 

Some Cartoons for Saturday Morning #250

 Hello, my friends and welcome back for another selection of classic cartoons. 

Today's cartoon selection begins with your hero and mine, Mighty Mouse in Law and Order (1950).

Next comes a classic and often overlooked Disney Silly Symphony cartoon, More Kittens (1936). This short film is a bit of a sequel to the previous Silly Symphonies short, Three Orphan Kittens (1935) as this movie features the same kittens who were the stars of that cartoon. The voice of the maid in this movie was by Lillian Randolph. Cartoon fans might recognize her as the voice of Tom's owner in the earlier Tom and Jerry films. Fans of classic Christmas movies will know her as Annie the maid in Its a Wonderful Life (1947). Like all Disney cartoons of this time, this film features a wonderful cast of animators. Frenchy de Tremaudan animates the kittens' opening and closing scenes with the maid and them in the laundry. Ward Kimball, who would become one of Walt's Nine Old Men, work on some of the best Disney features and even direct some great cartoon shorts, animates the kittens first meeting the dog. Leonard Sebring, a wonderful animator who spent most of his career doing uncredited work for both Disney and MGM, animates the kittens drinking from the dog's bowl and them with the turtle. Bob Stokes, who worked for a wide variety of studios (Disney, Van Bureun, Warner Brothers, MGM, Ub Iwerks) though mostly uncredited, the scene with the kittens, the fly and the dog together. Bob Wickersham animates the kitten and the fly on the branch and the kittens with the bird. Frank Thomas, who would also become one of Walt's Nine Old Men, animates the fight inside the dog's mouth, the kittens chasing the bird up the clothesline and the dog hiding the kittens. This cartoon premiered at the Majestic in Tulsa, Oklahoma on Christmas day, 1936 with the feature film, Polo Joe (1936, starring Joe E. Brown). It made its TV premier on an episode of The Mickey Mouse Club that aired on December 6, 1956. 

Next is a delightful black and white Porky Pig cartoon, Get Rich Quick Porky (1937). This was an early cartoon for director Bob Clampett (1937 was his first year as a director) and while it may not be as wild as some of the director's later work, there is plenty to enjoy here. This cartoon also marked the last appearance of Porky's sidekick, Gabby Goat. There is not much to Gabby besides him being grumpy and easily irritated, but the contrast between him and the more optimistic Porky makes for delightful watching. Two of the animators on this movie would later become great Looney Tune directors in their own right. Chuck Jones animates the wonderful scene with the dog, the gopher and a bone as well as the film's ending. Norm McCabe animates Gabby underground with his jackhammer as well as Porky handing the deed to Honest John. 

Now for Chilly Willy and Wally Walrus in From Tusk Til Dawn (2022). 

Now it is time for a commercial break.

Now for an Aesop's Sound Fables cartoon, The King of Bugs (1930). This short film is quite crude compared to what Disney was doing at this time, but is definitely enjoyable for what it is. 

Up next is Betty Boop and Bimbo in the Talkratoon short (this is before Betty got her own series), Dizzy Red Riding Hood (1931). This movie is full of the surrealistic and often risqué humor that I love about the pre-code Fleischer cartoons. 

The Pink Panther began his animated career appearing in the opening credits of Blake Edwards' great live action feature, The Pink Panther (1964). Blake Edwards contacted animation producers Friz Freleng and David DePatie to create an animated Pink Panther for this title sequence. They created many different panthers, but when Blake saw the various drawings, he immediately knew which one he wanted in his film. The title sequence was a smash hit, and the character was spun off into a series of theatrical cartoon shorts (at a time when those were on their way out). Today we will look at the first and possibly best of these cartoons, The Pink Phink (1964). This cartoon set a template for many more shorts to come. The basic storyline involves a formula that would be often used. The Pink Panther wants to turn everything pink much to the annoyance of a little man (who may look a little like Friz). The gags come fast and furious and the design work is lovely. All in all, this cartoon was a delight and the best way to start this series possible.

It is now silent movie time, so enjoy Felix the Cat in Romeeow (1927). 

Let us close with some Saturday Morning Minions. 

Thanks for joining me. Come back next week for another selection of animated treasures. Until then may all your tunes by looney and your melodies merry.  

Resources Used

Silly Symphonies: A Companion to the Classic Cartoon Series by Russell Merritt and J.B. Kaufman

Looney Tunes and Merrie Melodies: A Complete Illustrated Guide to the Warner Brothers Cartoons by Jerry Beck and Will Friedwald 

https://cartoonresearch.com/index.php/animator-breakdown-get-rich-quick-porky-1937/

https://mediahistoryproject.org/

Movie Review: The Holdovers

 

Michael's Movie Grade: A

This comedy-drama is truly a new Christmas classic. 

This film's storyline is very simple. A cynical and pretentious teacher at a boarding school is forced to look after a group of students who have nowhere to go on Christmas vacation. Under most filmmakers this would have been just a decent little feel-good movie. However, director Alexander Payne (who already has a dedicated following among cinephiles) and writer David Hemingson (a television writer for whom this is his first theatrical feature film) both create so much more with this film. This is a comedy-drama that is not only very touching and quite funny but also very intelligent. The filmmakers know exactly when they should do exactly what the audience is expecting and when they should subvert the audience's expectations. Because of this it manages to be a real crowd pleaser that understands just why people enjoy this type of storyline while also throwing a few surprises in there. The filmmakers also make these characters more than the two-dimensional stereotypes they would be in lesser hands. While there are parts of these characters' personalities that are familiar, there is also a real depth to them. Because of this by the end of the movie, these characters feel completely real to us. Of course, truly wonderful performances by Paul Giamatti, Da'Vine Joy Randolph and Dominic Sessa don't hurt either. Also because of our connection to these characters, there are moments here that are truly emotional. This film is able to delve into even the most unashamedly sentimental parts of the story without ever feeling forced or anything less than perfectly natural. There are scenes here with such a strong emotional resonance that they will stay with you long after the end credits. As well as being emotional this movie is also truly funny. There are many real laugh out loud moments throughout the movie. The humor also works so well because it always comes directly out of the characters. Many of the funniest moments are not only hilarious but also add to the emotion of the story or our connection to these characters. This allows this comedy-drama to be laugh out loud funny without ever taking away from the drama. 

Though this may be one of Alexander Payne's most conventional movies, it still is full of great treats for cinephiles. This movie takes place in 1970 and truly looks and feels like a film from that era. Most of them I am not a fan of films that try to feel like movies from an early era. This is because often with these films, they simply don't feel like they could have come from the era they try to emulate. This is a rare exception. This movie perfectly captures the look and feel of a film from the early 1970's. This becomes all the more impressive when you think about what a truly unique era in film history the early 1970's were. Alexander Payne even throws in some wonderful little touches that will delight movie buffs who are familiar with 1970's films. The movie even opens with a vintage 1970's "R" rating card and a Focus Features logo that looks like it could have come from 1970. Even the picture is made to look like it was shot on film (even though it was shot on digital), this even included adding what looks like film grain to the picture. It is this kind of attention to detail that shows why Alexander Payne is such a great filmmaker. There also various other treats for cinephiles including a picture of W.C. Feilds in the background of one scene, a Gene Autry song on the soundtrack and a trip to a movie theater that simply looks irresistible to any movie lover.    

This is a sheer delight of a movie and in my opinion has already earned its place as a Christmas classic (despite having just come out). A must see. 

Movie Review: The Tunnel to Summer, the Exit of Goodbyes (Natsu e no tunnel, Sayonara no deguchi)

 

Michael's Movie Grade: B

A well-made romantic animated film from Japan. 

What makes this movie work so well is that its heart is always in the right place. The romance is truly sweet, and we see these two falling for each other in a completely believable way. This is of course the most important part of any romantic story. Besides just the romance though the fantasy elements and the moral implications of the main character's motives are very well done. This film creates its fantasy elements in a perfect way. They are not only well realized and quite clever but very well integrated into the more realistic parts of the story. There is a certain fantasy logic to how these elements work that make the world this movie takes place in seem all the more real. As we delve into the main character's motives, the film becomes more complex. What he sets out to do shows that he has a good heart and is paved with great intentions. Yet as we look at the bigger picture, we begin to see that it may not be the moral thing to do. That we can relate to and sympathize with this character, while not agreeing with him shows some truly great storytelling. All this leads to a truly emotional ending. This movie also benefits from great animation and design work that makes the whole film a pure visual delight.

Not everything about this movie works though. The scenes with the main character and his father are never as emotional effective as it should be. Part of this is because the writing is quite cliché and the dialogue feels like dialogue, we have heard a million times before. It doesn't help that the father feels more like a story device than an actual character. He simply never once feels real to us. The scenes in the school also feel like scenes we have seen in many anime films before this, with little to make them stand out. This film could have also benefited from a longer runtime as certain story points feel underdeveloped.

While this does have its flaws, there is also a real beauty to be found in much of this film.  

Movie Review: Anatomy of a Fall (Anatomie d'une chute)

 

Michael's Movie Grade: A+

A brilliant courthouse drama from France. 

This film's plot is a seemingly very simple one. When a man dies from a high fall, his wife is suspected of having killed him. While this sounds like a simple who-done-it, it is anything but. In fact, whether or not she killed him is not the main point of the film. Rather than focusing on what really happened, this movie is about the emotional states of the characters as well as the idea that we might never fully know anybody. Both of these are especially explored through the couple's son, Daniel. We delve into what it feels like for a child to have his childhood taken away from him with one quick tragedy. Through many of the scenes revolving around this character, we feel his difficultly to deal with the emotional weight that is thrust upon him. We also delve into how this character deals with learning how little he ever knew his parents and how this makes him doubt everything he ever thought he knew. This leads to some incredibly emotional and truly uncomfortable moments that stay with you well after the credits roll. While his mother is the main character, it is Daniel who remains the heart of the film. He causes us to see the whole movie from a different perspective than we might have otherwise. This film also delves very much into the complexity of the mother. Through much of this movie, we have no idea if she killed her husband. Yet we are going through this whole ordeal with her. Because of this we at once deeply sympathize with her, while also having part of us doubt her at the same time. This again drives home the idea of wondering if we can really know anybody. This especially can be seen when we are made to look at her marriage. Like the other people in the courtroom, we simply can only piece together assumptions based on the little we are told. There is no conclusion we can come to without a certain amount of assumption being necessary. As we peek into their private world, we are unable to fully comprehend, yet we are forced to come to an assumption simply because we are human and can't help ourselves. All of this is captured in an incredibly intelligent script by Justine Triet (who also directed the film) and Arthur Harari. The movie is also enhanced by some truly incredible performances by Sandra Hüller and Swann Arlaud.

Since this is a courtroom drama, there is not surprisingly a large amount of dialogue throughout. Yet this movie never feels visually static or uncinematic. Justine Triet and cinematographer Simon Beaufils keep this film consistently visually interesting. In fact, there are many perfectly staged visual moments that will stay in one's mind long after watching the movie. This is especially true of the scenes that take place at the house of our main characters. The look of this house and the snowy landscape that surrounds it create an image that encapsulates the conflicting nature of the story, though both its visual beauty and how it looks isolated from the rest of the world.    

This is simply essential viewing for movie fans. 

Silent Film of the Month: Dr. Jack (1922)

 

Run Time: 60 minutes. Studio: Hal Roach Studios. Director: Fred C. Newmeyer. Writers: Hal Roach, Sam Taylor, Jean Havez. Titles: H.M. Walker. Producer: Hal Roach. Main Cast: Harold Lloyd, Mildred Davis, John T. Prince, Eric Mayne, C. Norman Hammond. Cinematographer: Walter Lundin. Editor: T.J. Crizer.

While not exactly an obscure movie (at all), I often feel that Dr. Jack is often overlooked when it comes to Harold Lloyd's feature length films. Though it may not get as much attention as The Kid Brother (1927), The Freshman (1925) or Safety Last (1923), it is a pure delight of a movie. 

Like all of the best silent comedies, this film has a very simple storyline. Dr. Jack (Harold Lloyd) is a friendly doctor, who is beloved by all his patients. His often-unusual methods are based on good old-fashioned kindness. One day he meets a beautiful girl (Mildred Davis) and falls in love. He is soon hired as the new physician for this beautiful girl, who has been under the supervision of a quack doctor who has convinced this healthy girl that she is in fact a very sick woman. 

This movie is one of Harold Lloyd's most gag filled features. In fact, it takes a while for the story to actually start. At first this film is simple one gag revolving around Harold Lloyd being an eccentric doctor after another. This is in no way a complaint about the film. In fact, this is what I love about this movie. These early scenes before the story begins, are truly laugh out loud funny. This is the type of very clever and creative comedy that makes Harold Lloyd's films so delightful, and it is hard to complain when you get one great gag after another. There is also such a wonderful sense of pure comic energy in these early scenes that is simply hard to resist. However even when the story gets underway this comedic energy continues. The big climatic chase scene is especially wonderful. Yet even with the sheer number of gags, there is a certain seemingly effortless sweetness and charm to the romance in this film. At the same time the romance never once takes away from the delightful comedy. 

How excellent this movie is, becomes all the more impressive when you put it into the context of where it came in Harold Lloyd's filmography. This was his third feature length film. Before it was A Sailor-Made Man (1921) and Grandma's Boy (1922). A Sailor-Made Man was originally intended as a short film but ended up being longer with nothing that he or producer Hal Roach felt like cutting. Therefore, it ended up being released as a feature film. Grandma's Boy was something entirely different than what Harold had done before. That movie was just as much of a character study as it was a comedy. Because of this while there were a lot of gags, they were all subservient to the story. Dr. Jack was a different film altogether. It was always intended as a feature film and was a movie where the story was secondary to the gags. With this in mind, it is truly impressive how well-crafted this movie is. 

Like Harold Lloyd's previous two feature films, this movie was directed by Fred Newmeyer. Newmeyer's name appears as director on many of Harold Lloyd's most famous films and it could be said that he did his best work with Lloyd. However, this is not to say that his work away from Lloyd should be overlooked. He directed what many consider to be Larry Semon's best feature length film, The Perfect Clown (1925). He also directed the talkie Our Gang (or Little Rascals) shorts, The Pinch Singer (1936), Arbor Day (1936) and Mail and Female (1937). He even co-directed (with Gordon Douglas) the Our Gang kids in their sole feature length picture, General Spanky (1936). He also directed a silent feature (that is sadly considered lost) starring the great W.C. Feilds, The Potters (1927). Lloyd's co-star in this movie was Mildred Davis. This was his 13th film with her. They would only work in one more movie together, the infamous Safety Last (1923). In 1923 the two would get married in what is said to be one of Hollywood's happiest and longest marriages. They would remain married until she passed away in 1969. Fans of the silent Our Gang shorts may be delighted to see Mickey Daniels and Jackie Condon in a delightful comedy sequence. The first Our Gang short was released the same year as Dr. Jack. Fred Newmeyer was originally directed the first Our Gang short, but the film did poorly with test audiences and was reshot with Robert F. McGowan (who would remain the series director for quite a while) as director.

This film was a major box office hit, even outperforming Lloyd's Grandma's Boy earlier that year. The movie cost $113,000 and grossed $1,275,000. 


Below are a couple of vintage articles about Dr. Jack. If you have trouble reading them, click on the pages and use your touch screen to zoom in. 

Moving Picture World, 1922

Moving Picture News, 1922

For anyone interested in watching this short it can be found on YouTube below. If you want to own it, it is on The Harold Lloyd Comedy Collection Vol. 2, which I highly recommend.

 

Resources Used

The Little Rascals: The Life and Times of Our Gang by Leonard Maltin and Richard W. Bann

A-Z of Silent Film Comedy by Glen Mitchell.

https://www.tcm.com/tcmdb/title/553892/doctor-jack#articles-reviews?articleId=24009

https://mediahistoryproject.org/