Reviews

When The Walking Dead appeared on the Saturday morning bill on TCM it caught my eye. As a Karloff fan since my teens, I don't know why this minor masterpiece has escaped me. With Michael Curtiz directing, how could it be bad? The man who gave us Adventures of Robin Hood, Casablanca, and countless other classics can handle the horror genre with equal skill. Yes, the plot is a bit of a stretch, but a talented cast pulls it off within a fast paced 1:08 runtime. With eyes alone Karloff demonstrates the skill that made his name synonymous with horror. While not in the class of Frankenstein, the atmospheric direction and excellent photography gave me chills of a different sort. If you've not seen this one, watch for it. You won't be disappointed.

A Night to Remember should be retitled A Night So Bad it's Hard to forget. Loretta Young must have been hard up for cash to involve herself in this pathetic attempt at the mystery/comedy genre. I've watched some very lame poverty row comedies that put A Night to Remember in the "they couldn't be serious" category.

I spotted on the Classic Reel streaming channel, checked the cast and decided it would be great fun. Columbia assembled a group of dependable B stars including Don McBride, Sidney Toler, William "Billy" Benedict, Lee Patrick, the usually creepy Gale Sondergard and James Burke. Any B fan would rejoice in seeing these characters together. But not here.

Brian Ahern's attempts at comedy are inane. And, the musical score would be great as underscore on an episode of Ozzie & Harriet or Life of Riley.

In short, I wasted 90 minutes.

Originally I watched Garden of the Moon to see Margaret Lindsay. Born Margaret Kies in my hometown of Dubuque, Iowa, she was one of Warner Brothers most active co-stars in the 30s. As a young student at the Academy of Dramatic Arts in NYC she and her friend Charles (Bob) Cummings noticed that many big roles were going to British actors. Together they traveled to England, worked stock companies and created British accents. They cruised back to the states as brother and sister and started landing roles in Hollywood. Her big break was Noel Cowards "Cavalcade." Numerous co-starring roles with the impressive roster of Warner male leads followed.

Teamed in this enjoyable "B" musical with John Payne, they make a delightful couple. At the time, her credentials were much larger than his. But Payne soon progressed to bigger roles and on to a FOX contract. His singing voice is impressive. The hotel orchestra in the film included the legendary Jerry Colona and jazz violinist Joe Venuti plus trumpeter Johnny "Scat" Davis. You'll remember him from "Hooray for Hollywood."

Pat O'Brien as the obnoxious hotel manager is great. Busby Berkeley's choreography adds a lot to the fun. The Harry Warren, Al Dubin and Johnny Mercer is not award winning but enjoyable.

If this shows up again on TCM take the time to watch it. You won't be disappointed.

The first time I saw a Crosby-Hope-Lamour Road picture was on TV. It was broken up about every ten minutes with five minutes of commercials. Regardless, I stuck with it to enjoy the wacky comedy and choice Crosby crooning. It was The Road to Morocco. For the next few Friday nights, the channel featured the rest of the series - one comic gem after another. It wasn't until years later that I saw the Road to Singapore and then Zanzibar on TCM. Each had great songs but to my taste, "It's Always You" comes in second place to "Moonlight Becomes You." "Put 'er There Pal" and "Road to Morocco" are the top novelty tunes from the series. One thing that always bothered me about "Zanzibar" is the "slave sale" scene. It would never pass the censors today, and was surely just as inappropriate in 1941. The print I watched recently on Classic Reel is pristine - the sound is clear and crisp and this 80 year old classic still holds up for a good 1 1/2 hours of fun.

From the opening scene to the last moment, this Warner wartime film satisfies. Some will dismiss it as far fetched and implausible. However, it was just the thing needed to bolster Allied spirits during the dark, depressing days of WWII. Errol Flynn and Ronald Reagan make a good combo and the supporting cast is very good. The bold bravado of the team coupled with the inept Nazis is just what moviegoers of the era needed to see. The aerial photography in the first battle was excellent. I loved every minute. Great Max Steiner score. Raul Walsh and Hal Wallis never faied to deliver great entertainment. If only I could buy a war bond. The TCM print is excellent. As a pre-boomer born in 1944, I can get into the spirit of what the "Greatest Generation" accomplished for us.

Although some may argue that the best part of this film is the frequently used song "Give Me the Simple Life," I found it to be relaxing and charming.

When viewing any film like this, I believe it's important to remember that it was released after our nation had endured a decade of depression followed by 4 years of the horror of WWII. This quiet little film provided relief from the stress of those traumatic years, and a glimmer of hope for the future.

The entire cast was down home friendly and comfortable to watch. The color photography is warm and welcoming, and the background score provides the appropriate mood for each scene and some hope for the future.

I watched it on Classic Reel one chilly Spring morning and enjoyed every minute.

Those who dismiss this film because it doesn't address social concerns or the "real" founders of jazz or the blues need the proverbial "whack in the of the head." It is true that black musicians created the fundamental elements of blues and jazz, white musicians also had a significant impact on the development. The Original Dixieland Jazz Band made the first recordings of jazz and brought it into "respectable" society. That paved the way for all that followed.

Louis Armstrong considered Guy Lombardo's orchestra his favorite. White musicians hung out at places where black musicians performed. Black and white learned from each other to create the sound called "jazz." Black and white musicians worked together long before they were both allowed to use the same hotels, restaurants or restrooms. One of the great musicians in the film, Jack Teagarden was part Cherokee Indian. Great musicians like Benny Goodman, Tommy Dorsey, Paul Whiteman employed "colored" musicians and were both integrators and innovators. Jazz is an amalgamation of many cultures and races.

Is the plot contrived? Yes. Is it corny? Yes. Is it delightful entertainment for the time it was filmed? Absolutely. And it can be enjoyed by todays audiences if you remember how society has progressed since then and how jazz played by both black and white musicians were responsible for creating a truly American art form.

I had not seen this enjoyable musical until spotting it on Classic Reel. Although not up to the spectacular Grable musicals of the 40s, it is a delightful bit of nostalgia. The original score isn't up to typical Harold Arlen material but it's still vastly better than average and the Friendly Island satire of South Pacific is laugh out loud fun. It's ironic that Mitzi Gaynor introduces this production number and 6 years later stars in South Pacific. Grable is gorgeous as ever and Dan Dailey never disappoints. Color by Technicolor is warm and wonderful and the orchestrations are first rate. This is class A entertainment that unfortunately our nation will ever see again.

I spotted this on Reel Classics late one evening and although I had never heard of it, I thought "Alice Faye-Don Ameche" it must have something.

My instincts were correct. This early look at silent Hollywood is very enjoyable. Appearances by the already aging silent stars, especially Buster Keaton, added immeasurably to the charm of this 1939 gem.

The silent comedy sequences were well played and quite funny. Alice Faye deserves extra credit for the pratfalls, pies in the face, soaking in shallow ponds over and above and her usual beautiful smile.

Classic Reel must be commended for bringing this film out of obscurity. The Technicolor print used is beautiful. It's well worth your time.

Watching this reminded me of staying up late at night in the early 50s after mom and dad went to bed. Cheaply made, mediocre acting, and a spooky soundtrack.

It was interesting to hear the Theme from "The Whistler" radio show in the first few moments after the opening credits. But there is no other mention of a conn3ction to the radio show in the film.

What a perfect movie. Impeccable cast. Great story. Excellent soundtrack, and beautiful costumes and photography. This is what old Hollywood was about and new Hollywood is missing. The nod to Singing in the Rain is obvious, but it expands on that story. In an era of bombastic soundtracks and sfx, this film proves there are good stories, intelligent scripts and great actors. Sadly, they are not part of the prevailing culture. This was the exception. Totky satisfying.

Jitterbugs is good entertainment for a rainy afternoon,but far from an example of their best work. Both, although past their prime, are delightful playing the various characters moves into the plot. Stan in drag is fun, but not up to his Hal Roach moments in faux-fem roles.

Ollie demonstrates his comic genius and graceful dance moves too.

I love the two man band sequence and as a southern gentleman he is a delight.

Bob Bailey in his screen debut is fine, but his real skill was in radio as Johnny Dollar.

Vivian Blaine sings a few mediocre tunes that should have been left on the cutting room floor. With the wealth of music available in the Fox library they should have been much better.

All I all, it is fun and worth the 1 and 1/4 hours.

The trio of Skelton-Blue-Ragland is a D quality version of The Three Stooges. The spy house sequence is just dumb. Ann Southern songs fine. Virginia OBrien is good with "Fresh as a Daisy." Lena Horne is stunning on "Just One of those Things." The two Berry Brothers appearances are very good but Lena's talent on "The Sping." The Berry Brothers save it. All in all, it's very low grade 40s musical diversion. Not even Technicolor could make this better than a B.

I've read many of the reviews and agree with most. This is not Julian Fellows at his best. The Baranski character is as annoying as she has been in most everything she's done. I find my attention span drifting while trying to follow the soap opera plot. I don't believe any of the critics have mentioned the dull and lifeless musical score.

We will watch it to the end - but only because there's little else worthwhile.

I don't give a hoot what others have written. ANY Cary Grant film is worth watching. There is magic in every film he made. There's been no one like him and never will be.

I especially enjoyed the humming of Charade and Affair to Remember.

Jim Hutton died way too young but was always enjoyable.

It's a wonderful bit of nostalgia from the dying days of an era when movies could be enjoyed by all ages - cars and buildings weren't constantly blowing up - sex was suggested rather than on full display - an$ soundtracks didn't blow you out of you4 theater seat.

Seeing Ray Milland, Claude Raines and Maureen O'Sullivan together is good, but add the on-location photography and a haunting Nelson Riddle score and you have a fun viewing experience. This was the first of 4 films directed at Republic by Milland. It is an excellent example of how Republic grew from one step above Poverty Row to near A stature.

This is a fabulous piece of Noire. But I must add a "goof."

As an old radio guy I want to point out that when acetate discs were recorded, a trail of the cut acetate would pile up behind the cutter. There is no trace of that in any of "Grandy's recordings.

Otherwise - a flawless film.

We watched this in the restored version on TCM. It's easy to see why many consider fit his as one of Lang's finest. Henry Fonda was excellent and every member of the cast is believable. The visuals created by Lang make this a must watch for any serious student of film making. The pacing, staging, and sets are worth multiple viewings. Newman's score is perfect.

It is a true precursor to the film noire genre. We loved it.

This is a delightful Grable flick with great music and fine production numbers. But whomever decided Carey would be the perfect husband for her deserves the Golden Raspberry.

This is not a great film, but it has certain charm that I can't define. Lugosi is what he always was but actually looks better than in many of the other films he worked to feed his habit.

The saddest thing to me was using the Tesla last name.

First Edison robbed the name of glory and now this!

It's been years since I watched It Happened One Night. After enduring the pathetic performance of June Allyson, I realized how fine Claudette Colbert was in the role. Jack Lemmon delivered his usual great performance, but June's delivery and her singing and dancing was embarrassing. Johnny Mercer was one America's great songwriters, but except for the title tune, this score is more befitting a Mascot or Monogram "musical."

Buddy Kaye was enjoyable and the cameo performances of Henny Yougman and Jim Backus added a few smiles, but this is essentially a turkey.

I watched this on Classic Reel and enjoyed the musical numbers and Maureen's fabulous hair & physique.

Like most musicals, the plot is inane and implausible. But seeing and hearing Harry James perform anytime, anywhere makes it worthwhile. The man never played a bad note. His romancing of any beautiful woman is true to his character. And the surprise at the end of the movie is a reminder that for all his talent, his libido was totally out of control. Betty Grable was not only the 20th Century Fox studios top attraction for 10 years, but one of the most gorgeous and talented women of the 1940s, How Garry could constantly cheat in her is beyond belief.

Regardless - a fun film.

This is an enjoyable bit of nostalgia but to call it an original script is nonsense. The first 20 minutes are so closed to Fox's "Orchestra Wives" it borders on plagiarism. Even the bus that leaves Jeanne Crane in the arms of Dailey is the same that left Ann Rutherford in the grips of George Montgomery.

The score is fun, but written in 1940s Style - not 192Os.

Dailey's dancing is delightful. Crane is beautiful. Levant is sufficiently sarcastic, and it's always fun to see and hear Percy Kilbride.

The plot gets more interesting after the market crash.

One of the musical highlights is Oscar performing an excerpt from Concerto in F.

This is enjoyable fun.

I hadn't seen this movie for decades when I spotted it on Roku's Reel Classics. It is enjoyable, but it's easy to see why it didn't create the usual box office buzz of other Grable films. Not counting the inane school song in scene one, The first real song doesn't appear until 20 minutes into the plot. To my ear there are three fine tunes worthy of the Gershwin name. Changing my Tune; For You, For Me, Forevermore, and Aren't You Kinda Glad We Did. Since George had been dead for 10 years, Ira pulled incomplete tunes from George's "trunk" and completed them with the help of Kay Swift.

It's a nice diversion, but not a great musical.

I felt little chemistry between Haymes and Grable.

The print on Reel Classics was beautiful Technicolor.

I saw this on the TCM roster and gave it a try. Rooney is his usual incredible self. The full cast plays this musical version if Ah! Wilderness with great skill. As a musical it has mostly sub-par Harry Warren tunes, but they deliver a certain charm that I found very enjoyable. The sets and costumes are beautifully nostalgic.

Harry Morgan's drunk uncle steals more than one scene.

Seeing this makes me wish that the 1950 Booth Tarkington inspired musical "Seventeen" had been filmed. Those songs are superior and the plot equally as nostalgic.