Monday, January 22, 2018

Classic Movie Puzzle Grid #1

My husband, who knows how much I like puzzles, recently sent me a link to the Puzz Grid site, where puzzle enthusiasts submit puzzle grids for others to solve. Of course I immediately thought about making my own versions with classic movie themes!

Here's how the puzzle grid works. Each puzzle contains 16 words or phrases, which can be sorted into four groups of four. The groups can be names, things in the same category, or basically any related collection. The player has to figure out which items belong together and what connects them. On Puzz Grid the puzzles are timed, but here you can take as long as you want. I'll put the answers in the comments below the post.

If you try one of these, let me know what you think! I made some classic movie cryptoquizzes a while back, so try your hand at those, too, if you like.

This first one will be really easy!

WHALE                     MATTHAU            CAGNEY            FORD

HUSTON                    FONDA                 BRENNAN         PIDGEON

CARRADINE            MASON                 HULL                  WAYNE

HATHAWAY             TRAVERS              AGAR                 ARNESS

Monday, January 8, 2018

Classic Films in Focus: THE BRIDES OF DRACULA (1960)

Peter Cushing returns to the role of Doctor Van Helsing for this sequel to Hammer's 1958 reinvention of the Dracula story, but, in spite of the title, Dracula never actually appears. Instead, Van Helsing combats a new undead menace and the relentless obstacle of the doctor's own terrible timing, which goes a long way to make a bad problem worse. While the absence of Christopher Lee's Count is lamentable, and Van Helsing's inability to be on time is maddening, The Brides of Dracula offers a smorgasbord of the usual Hammer delights, including buxom damsels, sublime Gothic ambience, and the perfectly serious performance of Cushing himself.

Van Helsing combats an outbreak of vampirism when the undead Baron Meinster (David Peel) escapes from bondage and turns his pretty young victims into fellow bloodsuckers. The Baron also exacts a terrible revenge on his mother, the Baroness (Martita Hunt), who had kept him a prisoner in the family castle to control his murderous appetite. Once on the loose, the Baron pursues the lovely Marianne (Yvonne Monlaur), who escapes from her first encounter with the vampire and is rescued by Van Helsing. Unfortunately, Marianne's next destination is a girls' school, where the Baron finds plenty of virginal flesh to feed his lust for blood.

The Baron is a younger, more talkative monster than Lee's Dracula, with a young man's energy to match. David Peel's fluffy blond coif and oversized fangs make him a bit silly, but he manages to wreak havoc just the same, especially because Van Helsing never manages to keep his promises to return before sundown and stake the latest vampire victim. We might forgive him for being late the first time, but by the second time he really ought to know better; both of the female vampires might have been dispatched before they ever woke up (which would have made for a much shorter movie but a less frustrating vampire hunter). It's not Cushing's fault that the script relies on his character to be incompetent in order to generate the titular brides, but I find it hard to accept that the one guy who ought to be on top of the problem doesn't seem to know what time the sun sets.

Van Helsing's chronic lateness allows the Baron to corrupt two young girls, first a villager and then one of Marianne's friends at the school. These "brides" run about in white nightgowns and flash their own extra-large fangs at Van Helsing, but they don't have much personality as vampires. Marianne is the only young woman who gets much to do, and she usually does exactly the wrong thing. She takes Van Helsing's instructions to forget what has happened to her so literally that she later becomes engaged to the Baron, not recognizing him as the monster she naively freed from his chains! More interesting, and more tragic, is the Baroness, who pays for hiding her unnatural son when he turns her into a vampire, too. Unlike the other victims, the Baroness retains her horror at her fate, and she welcomes Van Helsing's offer to set things right. Martita Hunt gives the standout performance of the picture in the role, showing the Baroness in a brief but tragic arc of complicity, guilt, contrition, and redemption.

In spite of its narrative flaws, The Brides of Dracula remains a great favorite among Hammer devotees, and many blog lists rank it as the best of the Hammer Dracula films. For the sake of comparison, watch Horror of Dracula (1958) and a couple of the later entries: Dracula: Prince of Darkness (1966), Dracula Has Risen from the Grave (1968), Taste the Blood of Dracula (1970), Scars of Dracula (1970), Dracula A.D. 1972 (1972), The Satanic Rites of Dracula (1973), or The Legend of the 7 Golden Vampires (1974). Terence Fisher, who directed this outing, also headed up several of Hammer's other most memorable pictures, including The Curse of Frankenstein (1957), Horror of Dracula, and The Mummy (1959). Cushing and his frequent costar Christopher Lee appear together in many of these films. You'll find Yvonne Monlaur in Circus of Horrors (1960) and The Terror of the Tongs (1961); Martita Hunt, meanwhile, should not be missed as Miss Havisham in the 1946 adaptation of Great Expectations.

Tuesday, January 2, 2018

Film Log for 2017

2017 was a busy year, which meant that I watched fewer films than I have in previous years. We did some traveling, my daughter's school schedule ate a lot of time with me driving her to dual enrollment classes the next town over, and I was more engaged in politics than I ever have been before (a good thing but for all kinds of awful reasons). I wrote another book and pitched it to agents, did a lot of volunteer work with seniors, and spent many hours helping my teenager navigate the beginning of the serious college application phase of her life. That said, I still managed to watch films both old and new, and here's the record of every movie I made time to see over the last year. It's always fun to reflect on the films and wonder what other people watched.

Harry Potter and the Prisoner of Azkaban (2004)
Sing Street (2016)
Hidden Figures (2016)
For the Love of Spock (2016)
Lisa and the Devil (1973)
Indiana Jones and the Raiders of the Lost Ark (1981)
Galaxy Quest (1999)
Hellboy (2004)
Waxwork (1988)
Waxwork II (1991)
The Rocketeer (1991)
The LEGO Batman Movie (2017)
Frankenstein (1931)
Each Dawn I Die (1939)
Soapdish (1991)
Jane Eyre (2011)
The Rocky Horror Picture Show (with live floor show in Atlanta, GA)
Philomena (2013)
The Mummy (1932)
Dr. Strange (2016)
Kong: Skull Island (2017)
Wuthering Heights (1939)
Moana (2016)
Labyrinth (1986)
Blazing Saddles (1974)
Swiss Army Man (2016)
Beauty and the Beast (2017) (at Disney's El Capitan Theater in Hollywood!)
Lilo & Stitch (2002)
Cry Wilderness (MST3K version)
Phantom of the Paradise (1974)
Five Came Back (2017)
The Time Travelers (MST3K version)
Reptilicus (MST3K version)
Avalanche (MST3K version)
Guardians of the Galaxy Vol. 2 (2017)
The Wolf Man (1941)
The Beast of Hollow Mountain (MST3K version)
Love and Friendship (2016)
Lion (2016)
Bright Lights (2016)
Jurassic Park (1993)
Jurassic Park: The Lost World (1997)
Jurassic World (2015)
Women He's Undressed (2015)
Harry Potter and the Order of the Phoenix (2007)
Harry Potter and the Deathly Hallows Pt. 1 (2010)
Harry Potter and the Deathly Hallows Pt. 2 (2011)
Wonder Woman (2017)
Mindhorn (2016)
Handsome (2017)
Godzilla, Mothra and King Ghidorah (2001)
Starcrash (MST3K version)
Demons of the Mind (1972)
America's Sweethearts (2001)
Ocean's 11 (2001)
Ocean's 12 (2004)
The Land That Time Forgot (MST3K version)
Baby Driver (2017)
The Maltese Falcon (1941)
Spiderman: Homecoming (2017)
The Two Mrs. Carrolls (1947)
Casablanca (1942)
Valerian and the City of 1000 Planets (2017)
Dunkirk (2017)
West of Zanzibar (1928)
Three Strangers (1946)
Howl's Moving Castle (2004)
The African Queen (1951)
The Wraith (1986)
The Public Enemy (1931)
Logan Lucky (2017)
Runaway Bride (1999)
The First Wives Club (1996)
The Woman in White (1948)
Hocus Pocus (1993)
Footlight Parade (1933)
The Monster Squad (1987)
Star Trek IV: The Voyage Home (1986)
Gypsy (1962)
The Princess and the Frog (2009)
Robin Hood (1973)
Kings Row (1942)
Night Tide (1961)
Lady in White (1988)
The Last Unicorn (1982)
Going My Way (1944)
Each Dawn I Die (1939) - 2nd viewing of the year
Scaramouche (1952)
The House of Seven Corpses (1974)
Mary Poppins (1964)
The Penalty (1920)
The Adventures of Don Juan (1948)
In & Out (1997)
Abbott and Costello Meet Frankenstein (1948)
Fright Night (1985)
Thor: Ragnarok (2017)
The Roaring Twenties (1939)
Kiss Kiss Bang Bang (2005)
Murder on the Orient Express (2017)
Heathers (1988)
Speed Racer (2008)
Kong: Skull Island (2017) - 2nd viewing of the year
Coco (2017)
The Big Sick (2017)
The Man Who Invented Christmas (2017)
The Hippopotamus (2017)
Their Finest (2016)
The Gorgon (1964)
What If (2014)
Muppet Christmas Carol (1992)
The Last Jedi (2017)
Rogue One (2016)
Lady and the Tramp (1955)
A Christmas Story (1983)
The Long Kiss Goodnight (1996)
Gremlins (1984)
Love Actually (2003)
The Greatest Showman (2017)
The Christmas That Almost Wasn't (MST3K version)
Krampus (2015)

*Bold print denotes films seen in a movie theater - total: 18

In total, 120 movies this year, which is low compared to some previous years, but I also made my way through a huge number of Midsomer Murders episodes, and I'm not going to apologize for that! (Sometimes you just need a good cozy to get through the day.) We saw fewer films in the theater because some of the ones we wanted to see never came to Alabama (boo!), and it costs a fair bit for all three of us to go these days, so we tend to take fewer risks on seeing movies that might not be worth it. Twenty years ago the husband and I saw more than 50 movies in the theater a year, but back then we had a local dollar theater and only two adults to please.

I do want to recommend The Man Who Invented Christmas as one of the loveliest pictures I saw in the theater this year; it never got much press in the US but is a delightful treat for any Dickens or Christmas Carol fan. I'll be adding it to my holiday DVD/Blu-ray collection as soon as it's available.

I hope your year in movies was a good one and that you saw everything you wanted to see! Happy 2018!

Tuesday, November 21, 2017

Thankful for Classic Movie Stars!

Happy Thanksgiving!

I hope you get to enjoy some classic movies along with your obligatory family time this week. I'm sure many of us will kick off the official start of the Christmas season on Friday with a holiday classic or two - at our house that's White Christmas (1954), even though it almost never snows where we live.

There aren't really a lot of Thanksgiving movies out there, but if we're forced to talk about things we're thankful for at those family gatherings, we can certainly list classic movies and their stars. Here's a Thanksgiving themed list of some of my favorite stars - I wonder which stars you'd pick for your own?

Tyrone Power
Henry Fonda
Alice Faye
Norma Shearer
Katharine Hepburn
Fred Astaire
Una Merkel
Laird Cregar

Friday, October 13, 2017

Classic Films in Focus: THE PENALTY (1920)

Part crime drama and part body horror, The Penalty (1920) helped to propel Lon Chaney to true stardom after seven years in the film business and a long roster of less memorable roles. The melodramatic adaptation of Gouverneur Morris' novel about an amputee crime lord gave Chaney the opportunity to demonstrate the lengths he would go to create a physically distinct character, but it also allowed him to show his skill at conveying that character's complex emotional experience. Nearly a century later, Chaney's performance still has the power to move and horrify his audience in equal measure, although some of the story's attitudes toward women, immigrants, and people with disabilities have not aged nearly as well.

Chaney plays a notorious San Francisco kingpin called Blizzard, who lost his legs as a young boy when a novice surgeon (Charles Clary) prematurely amputated them following a car accident. The malpractice was covered up by the doctors, but Blizzard has never forgotten the gross injury done to him. While he plots the ransack of San Francisco with his criminal gang, Blizzard watches for an opportunity to avenge himself on Dr. Ferris, who has since become a well-respected surgeon. He finds his chance when the doctor's artistic daughter, Barbara (Claire Adams), advertises for a model for her sculpture of Satan after the Fall. Meanwhile, Blizzard himself is the target of the secret service, which sends the intrepid agent, Rose (Ethel Grey Terry), undercover into Blizzard's lair.

Chaney has a particular genius for making tragic figures of his most monstrous men, and Blizzard is a terrific example of the actor's ability to make us feel pity and even sympathy for someone sunk so low in the worst of human emotions. Of course we stare at Chaney's tortured body and wonder how he manages the physical feat of playing a legless man, but his face tells us even more about Blizzard's self-loathing and his longing for something beautiful and good in his life. He can look like the devil incarnate, but he can also recall to us the innocent boy whose life was ruined by a foolish doctor's haste. He has his best scenes with the film's two female characters, both of whom respond to the buried humanity that they sense within him. Rose even falls in love with him, though she knows perfectly well the long list of crimes he has committed. If the final explanation for Blizzard's crimes seems far-fetched, it does at least give Chaney another facet of the character to portray, showing that he can be credible as good men as well as monsters.

Blizzard is made more sympathetic by the frankly obnoxious men who are meant to be the "good guys" of the piece, namely Dr. Ferris and his assistant, Wilmot (Kenneth Harlan), both of whom treat Barbara's artistic efforts as a pointless waste of time. Blizzard might be using Barbara for his own insidious ends, but at least he takes her seriously as an artist. Ferris and Wilmot both dislike Blizzard primarily for being "crippled" and "deformed," even though it was Ferris himself who wrecked Blizzard's body by being an incompetent fool. While the film provides some pushback against the sexism and ableism embodied by the doctors, it never confronts its anti-immigrant, Red Scare depiction of Blizzard's army of anarchist "foreign workers" who intend to loot San Francisco. The scheme does, at least, explain Blizzard's decision to pull his "dancing girls" off the streets and put them to work making hundreds of straw hats, which the anarchists will wear as a sort of uniform when they rise up to ransack the city.

Despite these dated attitudes, The Penalty succeeds as a gripping silent drama with a strong flavor of the horrific thanks to Chaney's powerful performance. Anyone interested in the "man of a thousand faces" will find this picture worthwhile, especially if you've already seen later films like The Phantom of the Opera (1925), The Unholy Three (1925), and The Unknown (1927). Director Wallace Worsley worked with Chaney again on several movies, including The Ace of Hearts (1921), A Blind Bargain (1922), and The Hunchback of Notre Dame (1923). For contrast in terms of Chaney's depiction of a character with extreme leg problems, try West of Zanzibar (1928).

If you want to read more about The Penalty, check out this thorough discussion of the film at Movies Silently (warning - includes spoilers). The Penalty is currently available for streaming on the horror service Shudder.

Sunday, October 1, 2017

Classic Films in Focus: NIGHT TIDE (1961)

Written and directed by Curtis Harrington, Night Tide (1961) offers a moody atmosphere and a very young Dennis Hopper as its main attractions, along with a tragic story about a girl who believes she might be a supernatural temptress from the deep. Its low budget production and ambiguous monster might not thrill everyone, but fans of Val Lewton's work will find a lot to appreciate here. Night Tide relies on doubt and suggestion for its creeping sense of unease, as viewers struggle to learn the truth about the beautiful girl alongside Hopper's infatuated protagonist. If you like Cat People (1942) or even cult favorites like Herk Harvey's Carnival of Souls (1962), Night Tide is worth tracking down.

Hopper plays young Navy sailor Johnny, who wanders onto the Santa Monica Pier lonely and looking for love. He finds an opportunity with Mora (Linda Lawson), a beautiful but mysterious girl who plays a mermaid in one of the pier's sideshows. Soon Johnny learns unnerving tidbits about Mora, including the drowning deaths of her last two boyfriends. Her guardian, Captain Murdock (Gavin Muir), also warns Johnny about Mora, and even Mora herself seems to believe that she poses a danger to her lovers. Johnny isn't sure if more mundane perils dog Mora or if she might really be a deadly siren born to lure men to a watery grave.

The amusement pier is an effective setting for a story of strange, doubtful fear; Johnny drifts through the arcades and attractions like a soul caught in a gaudy, slipshod Purgatory, where nothing seems entirely real. He visits a fortune teller, strikes up a friendship with the owners of the carousel, and watches Mora in her aquarium, where she lies underwater in a mermaid costume and brushes her long, dark hair. A mysterious older woman turns up now and again to frighten Mora, but when Johnny tries to follow her she vanishes. Nothing very horrifying happens at the pier. The events are merely uncanny, but they nurture Johnny's nagging uncertainty about his love. The most overtly frightening moment is Johnny's nightmare near the end of the movie, when it's clear that his subconscious has absorbed more of the situation than his rational mind will admit.

If you grew up watching older, rougher versions of Dennis Hopper, it's a shock to see him so smooth-faced and boyish here. He had been working as an actor since 1954, but in Night Tide his character is strikingly innocent and inexperienced; he arrives in Santa Monica almost an infant, having recently lost his mother and hoping to see the world. He latches onto Mora without knowing anything about her, a dangerous course in a liminal space like the pier, situated as it is between land and sea, terra firma and the fantastic. Linda Lawson is fittingly bewitching as Mora, who pities Johnny, loves him even, but also fears that she might bring about his doom. She has a foil in Luana Anders' tomboyish Ellen, who pines after Johnny but knows she can't compete with the mermaid's charms. The love triangle adds an extra wrinkle to the tale, since Johnny can't even see the appeal of ordinary Ellen when he only has eyes for the mythical Mora. Whether her powers are real or not, Mora functions as a siren in the way she mesmerizes the men in her life, including Captain Murdock, whose feelings for her are not exactly paternal in spite of having raised her since he found her as a child. The conclusion confirms that the danger is real, even if the mermaid is not.

Curtis Harrington went on to write and direct Queen of Blood (1966), another cult horror classic; he also directed What's the Matter with Helen? (1971) and The Killing Kind (1973). For more of Dennis Hopper's early work, see Giant (1956), Gunfight at the OK Corral (1957), and The Sons of Katie Elder (1965); he also turns up in Queen of Blood. Linda Lawson worked mostly in television, but you can see her with Audie Murphy in Apache Rifles (1964). Luana Anders made more contributions to the horror genre with Pit and the Pendulum (1961) and Dementia 13 (1963), but she also appears with Hopper in Easy Rider (1969) and returns to work with Harrington in The Killing Kind.

Thursday, September 28, 2017

Classic Films in Focus: KINGS ROW (1942)

Mixed reviews are often the hardest ones to write, and I have mixed feelings about Kings Row (1942), the Sam Wood drama adapted from the controversial novel by Henry Bellamann. I think, ultimately, the film is useful as an example of the ways the Hays Code could undermine the purpose of an artistic work in its relentless censorship of any really serious engagement of complicated issues, especially those involving sex. The original novel was an explosive bestseller, while the adaptation is far more conventional and even banal. It's hard to watch Kings Row and not notice the gaps and missteps where material had to be cut out or heavily revised in order to appease the puritanical Joseph Breen, but the film still has some very fine performances, especially from one of my favorite supporting actresses, the diminutive Maria Ouspenskaya.

In the film, Robert Cummings plays the protagonist, Parris Mitchell, who grows up in turn-of-the-century Kings Row, a sort of Everytown, USA. Parris has a privileged childhood despite being orphaned, and his best friend, Drake (Ronald Reagan), enjoys similar wealth and ease. Parris suffers a doomed romance with a fragile girl named Cassie (Betty Field), whose father, Dr. Tower (Claude Rains), serves as a mentor to the aspiring physician. Drake, meanwhile, draws the ire of his sweetheart's parents with his wild ways and ultimately settles down with Randy (Ann Sheridan), a girl from the wrong side of the tracks, but his luck takes a turn for the tragic. When a vengeful action threatens to destroy Drake, Parris and Randy work together to restore his will to live.

The movie garnered three Oscar nominations, with nods for Best Picture, Best Director, and Best Cinematography, and James Wong Howe certainly does make the most of the sets and faces on offer. The film also features a plethora of fine performers in supporting roles, including Charles Coburn, Judith Anderson, Henry Davenport, Claude Rains, and the always terrific Ouspenskaya, whose small stature never prevents her from totally dominating a scene. Cummings, Sheridan, and Reagan get the most screen time as the adult versions of the three main characters, whose friendship sustains them through the lowest points in their lives. Sheridan manages to make Randy appealing in spite of the weird tightrope she has to walk about what kind of girl Randy is and the blatantly sexist drivel she has to spout to soothe Drake's wounded self-esteem. Cummings is good looking but not terribly exciting as Parris, while Reagan gets the role of his career as the once carefree victim of Fate's turning wheel.

However, the changes that the Hays office demanded rob Kings Row of most of its purpose as a scathing commentary about the dark side of small town American life. The opening sign extolling the town's virtues should be read ironically, but instead the film bears it out as truth. We never really get the sense that Kings Row is a bad place at all; there's one sadistic doctor with very limited screen time and one crooked banker, but most of the other negative elements have been swept under the rug. The most glaring changes involve the Tower family; the movie makes Cassie a hysterical, mentally disturbed girl whose father is a paragon of paternal concern... for Parris, not his own child. With Drake's initial girlfriend, Louise (Nancy Coleman), also dissolving into hysteria and incipient madness later in the film, Kings Row seems to suggest that what's really wrong with small town America is just a bunch of overwrought girls, not the secret and villainous actions of their powerful, authoritarian fathers. Parris, who is supposed to be a caring psychiatrist, even goes so far as to consider having Louise committed to an asylum to shut her up although he knows perfectly well that she is telling the truth. He only reconsiders because it turns out not to be necessary to protect Drake, whose mental health means more to him than Louise's life. That sexist attitude makes Parris less sympathetic as a character, for it shows how easily he can become just a new generation of the same old attitudes embodied by Dr. Gordon and Dr. Tower.

Director Sam Wood earned two other Oscar nominations in addition to Kings Row, the others being for Goodbye, Mr. Chips (1939) and Kitty Foyle (1940). See more of Ann Sheridan in Angels with Dirty Faces (1938), They Drive by Night (1940), and Nora Prentiss (1947). Robert Cummings stars in Hitchcock's Dial M for Murder (1954), while Ronald Reagan has his other most memorable dramatic roles in Dark Victory (1939) and Knute Rockne, All American (1940). If, like me, you just can't get enough of Maria Ouspenskaya, see her in Dodsworth (1936) and Love Affair (1939), both of which earned her nominations for Best Supporting Actress, and don't miss her best remembered performance in The Wolf Man (1941).

You can read a little more about the background of the Kings Row novel and film here.