Thursday, December 29, 2011

Anchors Aweigh (1945)

Director:  George Sidney
Cast:  Frank Sinatra, Kathryn Grayson, Gene Kelly

Hey everybody!  Whether you're in the cold Northeast (like me!) or the tropics of Florida or (probably) California, Happy belated Holidays!  And a Happy New Year to you as well!  Today we're reviewing another Gene Kelly classic.

THE PLOT:  Joe Brady (Gene Kelly) and Clarence Doolittle (Frank Sinatra) are sailors in the Navy who get a three day leave.  They wind up in Hollywood, where all Joe wants to do is find his girlfriend Lola (who we never see, much to my disappointment) and all Clarence wants to do is find a girl.  The boys end up caring for a little boy named Donald, who has his heart set on joining the Navy.  Clarence falls for Donald's Aunt Susan (Kathryn Grayson) and the pair find many hilarious ways to get Clarence a date with her.  Eventually, they get him out with her, but it's useless because Clarence ends up falling for a girl from Brooklyn (Pamela Britton) and Joe falls for Susan.

THE REVIEW:  Okay, two things we need to get out of the way first:

1. Gene's bandit tango dance scene:  HOT SEX.
2. I never knew Frank Sinatra could dance!

Anyways, this film was definitely fun and I loved Gene's interactions with the children.  It was great to see him in a shy role.  And as for Frank, he was just plain ADORABLE in this!!!!  5 out of 5 stars.

Trailer:
      

Friday, December 9, 2011

Ziegfeld Follies (1945)

Directors:  Lemuel Ayers, Roy Del Ruth, Robert Lewis, Vincente Minnelli, Merrill Pye, George Sidney, Charles Walters
Cast:  Fred Astaire, Lucille Ball, Lucille Bremer, Fanny Brice, Judy Garland, Kathryn Grayson, Lena Horne, Gene Kelly, James Melton, Victor Moore, Red Skelton, Esther Williams, William Powell, Edward Arnold, Marion Bell, Cyd Charisse, Hume Cronyn, William Frawley, Robert Lewis, Virginia O'Brien, Keenan Wynn


This might be the film with the biggest cast and most directors ever made...

THE PLOT:  There really isn't a plot, besides the deceased Florence Ziegfeld (William Powell) looking down from heaven and designing his next big show.  The rest of the film is live action except for a sequence at the beginning, where a sequence is shown that consists entirely of puppets.

THE REVIEW:  I went into this film solely for the purpose of seeing a young Gene Kelly, but I was completely taken aback by the acting skill, especially the terrific comic acting by Red Skelton and Keenan Wynn.  I was laughing my ass off at Skelton's comedy.  And this is the first time I saw Keenan Wynn.  I didn't peg him as a comedian, but boy, was he funny!  And of course, Gene was terrific in his bit with Fred Astaire in "The Babbit and the Bromide."  I think this movie should get a 4 out of 5 stars, minus 1 because of Kathryn Grayson's strange performance at the end.  I just didn't like it.     

Saturday, December 3, 2011

Singin' in the Rain (1952)

Directors:  Gene Kelly and Stanley Donen
Cast:  Gene Kelly, Donald O'Connor, Debbie Reynolds, Jean Hagen, Millard Mitchell

Finally reviewing my favorite movie of all time!  My friend was kind enough to burn me a copy, so here we go!

THE PLOT:  Everyone thinks the musical is about rain.  Well, that's not entirely true.  "Singin' in the Rain" is the title song and the ending movie, but those are only two scenes in which rain appears.

Don Lockwood (Gene Kelly) is a huge Hollywood star in 1927.  His co-star, Lina Lamont (Jean Hagen), is loud, annoying and has a voice like metal on a chalkboard.  Don and Lina play an on-screen romantic couple..  In real life, their studio, Monumental Pictures, has linked them romantically, but in reality, Don hates Lina and Lina loves Don.  They're working on a new picture, The Dueling Cavalier, which turns out to be a total flop.  So, Don, his girlfriend Kathy Selden (Debbie Reynolds) and his best friend Cosmo Brown (Donald O'Connor) decide to make The Dueling Cavalier into a musical called The Dancing Cavalier.  Completely original, I agree.  But here's the thing:  Lina can't sing or dance for brains ("She can't act, she can't sing and she can't dance.  A triple threat"), so Don and Cosmo, who spend the entire movie acting like a couple of frat boys, decide to dub Lina's voice with Kathy's.

Well, we all know from any stoner movie that any plan by two male characters who are best friends fails, or at least turns sour.  Such is the case here.  Lina threatens studio boss R.F. Simpson (Millard Mitchell) and tells him that Kathy must dub her voice all the time.  R.F., Don and Cosmo move forward under the guise that they are going along with what Lina wants (Kathy gets mad at Don because she doesn't know that they're doing this), and then at the end, everything gets solved and then Don and Kathy share a kiss.

THE REVIEW:  I absolutely LOVE this movie because A. it's a musical. B. it's Gene Kelly. C. it's Donald O'Connor.  I was disappointed that Donald's lines in the film seemed to decrease from many to little to almost none, but his iconic "Make 'em Laugh" is amazing.  Donald was smoking 4 packs of cigarettes a day at the time, and he pulled off his iconic wall jump somersault with ease.  Gene Kelly performed the fantastic "Singin' in the Rain" number with a 103-degree fever.  And Debbie Reynolds, despite having been chastised by Gene (always known as a bit of a dictator on set) for her poor dancing and singing (her voice was actually Jean Hagen's voice singing, and Jean Hagen's talking voice was not her real voice), does an awesome job on "You Were Meant for Me" dancing with Gene.  Everyone did such a great job despite their shortcomings, and for that heart and determination, I give this film a 5 out of 5.  It truly deserves to be my favorite film.            
               

Monday, November 28, 2011

There's No Business Like Show Business (1954)

Director:  Walter Lang
Cast:  Ethel Merman, Dan Dailey, Donald O'Connor, Mitzi Gaynor, Marilyn Monroe, Richard Eastham, Johnnie Ray, Hugh O'Brian, Frank McHugh

Reviewing another Donald and Mitzi movie today!  In this one, Don and Mitzi play a brother and sister in a showbiz family.

THE PLOT (it's late and I should be in bed so I'm copying this one from Wikipedia):  In 1919, Terrance (Dan Dailey) and Molly (Ethel Merman) Donahue, a husband-and-wife vaudeville team known as the Donahues, pursue both a stable family life as well as success with their rendition of Midnight Train to Alabam.
As the years pass and the kids Steve, Katy, and Tim join the act one by one, their act eventually becomes the Five Donahues . Worried that the children will suffer from their nomadic lifestyle, Molly persuades Terry to send them to a Catholic boarding school, but the youngsters, missing both their parents and the thrill of performing, continually try to run away.
Comforted by Father Dineen's assurances that the children are better off with them, Terry and Molly buy a home in New Jersey for their brood, but when the Depression hits Terry and Molly are forced to take whatever jobs they can find, including singing for radio advertisements and working at a carnival.
Eventually, movie theaters come to their rescue by providing live stage entertainment before showings, and the Donahues are back to performing. In 1937, Tim graduates from high school, and the act becomes the Five Donahues once again, with Katy (Mitzi Gaynor) concentrating on dancing, Steve (Johnnie Ray) demonstrating an admirable singing voice, and Tim (Donald O'Connor) being an all-around performer like his father.
The family is a success and have soon hit the top, thrilling audiences at New York's famed Hippodrome Theatre with an extravagant multi-themed performance of "Alexander's Ragtime Band" with each family member being featured in their own segment in addition to the ensemble sections which bookend the piece.
One night after a show, a worried Molly and Terry return home alone while Katy goes out on a date, Steve takes a walk, and the womanizing Tim goes out with an older chorus girl. Katy and Tim both wind up at a nightclub, Gallagher's Golden Pheasant Room, where Tim teases Victoria Hoffman, (Marilyn Monroe) a hatcheck girl about the unnatural elocution her singing teacher has instructed her to practice.
Vicky forgets Tim's wisecracks though, when Eddie, her agent, informs her that he has persuaded famed producer Lew Harris to visit the club. With the help of her co-workers, Vicky gets onstage and impresses Lew and Tim with her singing After You Get What You Want, (You Don't Want It). Backstage, Vicky learns that Tim is one of the well known Donahues but quickly dismisses him in order to talk business with Harris.
Back at the Donahue home, Molly and Terry welcome Katy and then Steve, who informs his family that he wants to become a priest. Terry is distraught over his son's decision, but their discussion is interrupted by the appearance of Tim, who got drunk after he was dismissed by Vicky. Escorting Tim upstairs to sleep it off and nearly drowning him by dunking his head into a large sink to sober him up, Molly worries aloud if he hasn't bitten off more than he can chew. Tim goes to sleep and Molly heads downstairs to deal with Katy being out all night, with her six-dollar and twenty-cent cab ride home, and with Steve's decision to become a priest.

Later, having accepted Steve's choice, the family throws him a farewell party with songs, dances, and impressions, the centerpiece of which is a performance of their parents' old Alabam' act by Tim and Katy. Steve tells the assembly that he hopes everyone will come see his new act when it is worked up in the seminary over the next four year and follows this with an up-tempo jazz-influenced gospel tinged version of If You Believe after which Molly and the gang belt out a chorus of Remember. Molly is crying afterward and Terry is just about to, but they both understand that eventually the bird has to leave the nest and go out on his own.
Katy tells her father not to be so shocked and disappointed, because maybe Steve could end up a cardinal. Wailing in frustration, Terry tells the family that the only cardinal he wants in his family is one who plays ball for St. Louis (the St. Louis Cardinals).
After the party, the rechristened Four Donahues accept an engagement in Miami. Upon arrival, Tim is thrilled to find that Vicky, now known as Vicky Parker, is also appearing there; however she is performing a considerably more sensual version of the same "Heat Wave" number as the family. After falling in complete lust with Vicky's performance, Tim gives his approval for her to perform the number without checking with the family beforehand.
Vicky is a sensation and, although she gently shrugs off his proposals so that she can focus on her career, Tim falls in love with her as a result. Molly, still irate that Vicky "stole" her song, is further irritated upon learning that Harris is staging a Broadway revue around Vicky, and that Vicky wants Tim and Katy to join her without Molly and Terry.
Realizing what a great opportunity this is, Terry persuades Molly to let the kids go and she agrees, on one condition. They have to take the four expensive Cuban costumes as well, originally intended for the family's version of the "Heat Wave" number they let Vicky perform instead. They all share a laugh, and soon Molly and Terry are performing on their own again while Tim and Katy rehearse with Vicky in New York.
Katy begins dating Charlie Gibbs the show's tall and spare lyricist, and after Steve is ordained, he asks whether or not Steve can perform a small wedding ceremony in the near future. Shocked and annoyed, Katy demands to know whom Charlie plans to marry with her brother officiating, and Charlie sweetly tells her that she herself is the candidate. Having heard none of this in advance, Katy is pleasantly surprised and they set the date.
Tim continues dating Vicky, but one night a wardrobe mistress passes in the hallway with a new dress, telling Vicky that Harris selected it as her opening statement. Feeling that the dress makes the most completely inappropriate opening statement not to mention being the most completely wrong shade of purple as well, she phones back to the club and postpones her dinner date with Tim in order to discuss the matter with Harris. The costume designer, a tall, spare haute-couture man chimes in, correcting her that the color is not purple; it's `heliotrope.' Vicky angrily complains that no matter whether the dress is heliotrope, hydrangea, or petunia it's still the wrong shade of purple for her, not to mention the most completely unflattering style. Harris, equally annoyed, reminds Vicky that the dress cost $1400, and that's not heliotrope.
Vicky loses track of time and stands Tim up, and Tim, mistakenly assuming that Vicky is having an affair with Harris, gets drunk and comes back to the theatre where he confronts Vicky about her supposed affair. She is stung by the accusation and annoyed that a fellow performer such as Tim, who was born to the business of performing, should chastise her for trying to follow her love of the theatre and doing whatever it takes to reach her goals. She denies his accusations but also spurns Tim in his drunken state.
Tim leaves the theatre with one of the chorus girls, goes out and gets even more drunk, and becomes involved in a car accident. Molly and Terry learn of the accident just hours before opening night of the show for which Vicky and Katy have been rehearsing and Terry goes down to the hospital to confront Tim about his conduct. Tim rebuffs the advice, whereupon Terry slaps him across the face and storms out.
In the meantime, Molly has gone down to the theatre to be with Katy in this trying time. Lew Harris is beside himself and trying to decide if he should postpone the opening, but Molly, who has been rehearsing extensively with Katy, convinces Harris that while she'll have to fake the dancing, a feat with which she's been getting away for decades, she can go on in Tim's place.
After all is decided the show is a resounding success on opening night. The next day Terry and Molly go back to the hospital to pick up Tim but discover that he has vanished, leaving behind a note apologizing for his behavior. Molly and Terry are both heartbroken but decide to take action.
While Molly continues to perform in the show, the Donahues hire private detectives to search for Tim, and they scour the clubs and bars of New York looking for him. After almost a year, Steve joins the Army as a chaplain, while Molly still blames Vicky for Tim's disappearance.
When Molly tells Terry that the Donahues are being sought for a benefit performance at the Hippodrome before it is closed the following May, Terry shows no interest and instead disappears by train to search for Tim. During the montage, we see him reminisce about all the good times they shared with Tim.
Months later, on the day of the benefit, Katy, who has become close friends with Vicky, arranges for her to share a dressing room with Molly. Annoyed at the arrangement, Molly begins to pack up and head upstairs for some peace and quiet, however, Katy not only tells her mother that she'll be doing nothing of the kind, but that she needs to apologize to Vicky for snubbing her at every turn for the past year.
Incensed at this, Molly demands that Vicky speak up for herself about how true and deep her love is for Tim and Molly buys it.
Finally forgiving Vicky, Molly is also comforted by the arrival of Steve, who, after telling her that Vicky must be quite a girl for putting up with all Tim's shenanigans all this time, tells her not to lose hope. Molly agrees, telling Steve that she was wrong again. As Molly performs the title song, Steve and Katy watch from the wings; then Tim, wearing a US Navy uniform, appears behind them. Katy sees him first and takes him deeply into a silent embrace. His brother Steve follows and together they try to attract Molly's attention onstage, finally succeeding.  

The six principals then march down a flight of stairs out of view and a chorus of men and women all in multicolored flowing attire circle around the perimeter going up and down the stairs singing the title song. The six principals then come up on a platform in the middle thereof, adding their vocals to the chorus, and the film concludes with their finale.      


THE REVIEW:  This film, although a musical, was very powerful to watch, primarily because you expect a musical to be all sunshine and butterflies, and this one, while for the most part it was, wasn't.  I thought it was very powerful film for Donald.  Whereas Singin' in the Rain focuses on the glitz and glamour of movies and everything being perfect (the only problems being casting and bad movies), this film highlights how show business affects the family.  It's like Good Times, only with famous white people.  


I never knew Johnnie Ray was in this movie!  When he came on at the beginning, I found myself laughing like an idiot.  His singing voice was amazing, but all the idiotic poses he was striking were just...idiotic.  I thought it was really brave of Donald to take such a hard slap.  I mean, that slap was HARD.  It was so hard I could feel the stinging in my cheek.  I always love seeing comedians in dramatic roles, and Donald, while he could have been a little less comedic in the dramatic scenes, played it perfectly.  4 out of 5 stars, minus 1 for Johnnie Ray's idiocy in the beginning.              

Thursday, November 24, 2011

Anything Goes (1956)

Director:  Robert Lewis
Cast:  Bing Crosby, Donald O'Connor, Mitzi Gaynor, Zizi Jeanmarie, Phil Harris, Kurt Kasznar, Richard Erdman, Walter Sande

Happy Thanksgiving, everyone!  Sorry I haven't posted a review in a while...my computer has been being worked on by Office Depot and the 1920s replacement I was using had no Internet.

What better way to celebrate Thanksgiving (and the return of my computer) than by doing a review of one of Donald O'Connor's best movies?

THE PLOT:  Bill Benson (Bing Crosby) and Ted Adams (Donald O'Connor), a TV star, are writing a new Broadway show.  Everything's all set, they just need a leading lady.  Bill travels to England, while Ted goes to Paris.  Bill signs Patsy Blair (Mitzi Gaynor), while Ted signs Gaby Duval (Zizi Jeanmarie).  The four meet up in Paris and Donald O'Connor, bless his heart and I love him to death, does an absolutely shitty job of covering up his mistake.

Of course, the boys end up falling in love with the girl whom their partner signed (Ted = Patsy, Bill = Gaby), and they perform a series of spectacular song and dance numbers.  In the meantime, Patsy's father Steve (Phil Harris) is a gambler who needs to pay back some debts.  On the cruise back to America, they sort out the mess and come up with a new show called "You're the Top."  It runs for two years successfully.

THE REVIEW:  This movie is just downright adorable.  Of course, it's a Donald O'Connor/Bing Crosby movie, so I was already going into it with high hopes, but it exceeded my expectations.  Donald's song-and-dance number "You Can Bounce Right Back" that he does with the kids is just adorable beyond words, and the "De-Lovely" number with Mitzi is terrific and romantic.  The man was just so sexy and so talented and so...ugh.  I love him and I want him.  I thought it was funny that they made him have such a stuck-up attitude at the beginning.  So much different from Cosmo in Singin' in the Rain.  5 out of 5 stars.  I just love musicals.

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Sunday, October 16, 2011

Rear Window (1954)


Cast:  James Stewart, Grace Kelly, Wendell Corey, Thelma Ritter
Director:  Alfred Hitchcock

I've seen this film loads of times before, but Wednesday night I finally got a chance to view it with a critical eye.

THE PLOT (from Wikipedia because my keyboard is broken):
 After breaking his leg during a dangerous assignment, professional photographer L. B. "Jeff" Jeffries (James Stewart) is confined in his Greenwich Village apartment, using a wheelchair while he recuperates. His rear window looks out onto a small courtyard and several other apartments. During a summer heat wave, he passes the time by watching his neighbors, who keep their windows open to stay cool. The tenants he can see include a dancer, a lonely woman he nicknames "Miss Lonelyheart", a songwriter, several married couples, and Lars Thorwald (Raymond Burr), a wholesale jewelry salesman with a bedridden wife.

After Thorwald makes repeated late-night trips carrying his sample case, Jeff notices that Thorwald's wife is gone and sees Thorwald cleaning a large knife and handsaw. Later, Thorwald ties a large packing crate with heavy rope and has moving men haul it away. Jeff discusses these observations with his wealthy socialite girlfriend Lisa Fremont (Grace Kelly) and his insurance company home-care nurse Stella (Thelma Ritter), then explains to his friend Tom Doyle (Wendell Corey), a New York City police detective, that they believe Thorwald murdered his wife. Doyle looks into the situation but finds nothing suspicious.
Soon after, a neighbor's dog is found dead with its neck broken. When a woman sees the dog and screams, the neighbors all rush to their windows to see what has happened, except for Thorwald, whose cigar can be seen glowing as he sits in his dark apartment. Convinced that Thorwald is guilty after all, Jeff has Lisa slip an accusatory note under Thorwald's door so Jeff can watch his reaction when he reads it. Then, as a pretext to get Thorwald away from his apartment, Jeff telephones him and arranges a meeting at a bar. He thinks Thorwald may have buried something in the courtyard flower patch and then killed the dog to keep it from digging it up. When Thorwald leaves, Lisa and Stella dig up the flowers but find nothing.
Lisa then climbs the fire escape to Thorwald's apartment and squeezes in through an open window. When Thorwald returns and grabs Lisa, Jeff calls the police, who arrive in time to save her. With the police present, Jeff sees Lisa with her hands behind her back, wiggling her finger with Mrs. Thorwald's wedding ring on it. Thorwald also sees this, realizes that she is signaling to someone, and notices Jeff across the courtyard.
Jeff phones Doyle, now convinced that Thorwald is guilty of something, and Stella heads for the police station to post bail for Lisa, leaving Jeff alone. He soon realizes that Thorwald is coming to his apartment. When Thorwald enters the apartment and approaches him, Jeff repeatedly sets off his camera flashbulbs, temporarily blinding Thorwald. Thorwald grabs Jeff and pushes him toward the open window as Jeff yells for help. Jeff falls to the ground just as some police officers enter the apartment and others run to catch him. Thorwald confesses the murder of his wife and the police arrest him.
A few days later, the heat has lifted and Jeff rests peacefully in his wheelchair, now with casts on both legs. The lonely neighbor woman chats with the songwriter in his apartment, the dancer's lover returns home from the Army, the couple whose dog was killed have a new dog, and the newly married couple are bickering. In the last scene of the film, Lisa reclines beside Jeff, appearing to read a book on foreign travel in order to please him, but as soon as he is asleep, she puts the book down and happily opens a fashion magazine.

THE REVIEW:  This movie is an automatic winner for me because it has two of my favorite things: Hitchcock and Jimmy Stewart.  It's a great murder mystery and the acting by everyone is great, especially Thelma Ritter. 4.5 out of 5 stars.

 '68 Re-release trailer:

Sunday, October 9, 2011

Saturday Night Horror: Dead Men Walk (1943)

Director:  Sam Newfield
Cast:  Dwight Frye, George Zucco, Mary Carlisle, Nedrick Young, Forrest Taylor

(How ironic that Dwight is pictured on the cover but not credited on the cover.)

Welcome to another edition of Saturday Night Horror at the Psycho Ward!  Tonight we're going to Disc 4, Side B and reviewing one of the two Dwight Frye films on my collection:  Dead Men Walk.

THE PLOT:  A town doctor, Lloyd Clayton's (George Zucco) evil twin Elwyn (also played by Zucco) dies and comes back to life as a vampire by way of his assistant, Zolarr (Dwight Frye).  He's a vampire now, so obviously he has an immediate attraction to Clayton's niece, Gail (Mary Carlisle).  At first, her boyfriend David doesn't believe Lloyd's story about Elwyn being a vampire, but once he sees Elwyn standing in the doorway, he believes.  Boy needs to read the story of Thomas in the Bible a bit more.

Anyways, so the entire town is on a manhunt against Dr. Clayton, while the man himself struggles with Elwyn and finally kills him.  Zolarr, all the while, is being a selfish brat (as much as I love Dwight, I feel like all of his characters are selfish brats) and yelping, "Master!  Master!" as flames envelope the tomb where Elwyn is supposed to be buried.  At the end, Dr. Clayton, who died when the flames burst (really cool, by the way), gets a funeral and Zolarr doesn't.  Dwight Frye being mistreated again.  Shocker.

THE REVIEW:  SO SO interesting to see how Dwight Frye aged in the 12 years since Dracula, yet he was still mind-bendingly insane as Zolarr.  1943 was the year of Dwight's death, November 7th the day.  This film was released on February 10, 1943.  When he first appeared on-screen in this film, I literally said to myself, "He sounds (and looks) terrible" and it was true.  He had many wrinkles and he sounded very hoarse.  Poor Dwight.  And he gets killed on top of it.  Didn't really go out with a last hurrah, but I still love him. <3

As for the rest of the film, I felt like I was watching Dracula again.  Even so, I can't understand why many Dwight fans hate this film.  Despite his age and frail state, Dwight is still very good and the film is decent.  3 out of 5 stars.      

Sunday, October 2, 2011

Saturday Night Horror: Tormented (1960)

Director:  Bert I. Gordon
Cast:  Richard Carlson, Susan Gordon, Lugene Sanders


Welcome to another edition of Saturday Night Horror!  This week we'll be traveling to Disc 9, Side B for another 60s horror flick, Tormented (I WILL eventually get to The Vampire Bat and Dead Men Walk.  Don't worry!) 


THE PLOT (from our friends at Wikipedia): 
Jazz pianist Tom Stewart (Richard Carlson), who lives on a Cape Cod island community, is preparing to marry his fiancee Meg. Shortly before the wedding, Tom's old girlfriend Vi (Juli Reding) visits and informs him that she will end Tom's relationship with Meg, using blackmail if necessary. While arguing on top of a lighthouse, the railing Vi is leaning against gives way. She manages to briefly hang on, but Tom refuses to help and watches her fall to her death.

The next day, Tom sees Vi's body floating in the water. He retrieves her only to see the body turn into seaweed. Tom tries to forget what he's seen, but over the next several days, all manner of strange occurrences happen. Vi's watch washes up on the beach and mysterious footprints appear in the sand. Before long, Vi's ghost appears and tells Tom that she will haunt him for the rest of his life.

One day, Meg's little sister Sandy shows up and asks Tom if she can see the engagement ring. As Tom shows it to Sandy, he's spooked by a disembodied hand that soon makes off with the ring.

Soon afterward, a party is held for Tom and Meg. Vi's disembodied head makes a small appearance in a photo taken of Tom and Meg, and when he's alone, Vi taunts Tom that she'll now use her voice to tell the world how Tom Stewart killed her.

To add to Tom's dilemma, a ferry-driving beatnik (Joe Turkel) comes looking for Tom, intent on collecting the $5 Vi owes him for her trip to the island. Tom's haste to pay the fellow off causes the shifty man to stick around, where his attempts to blackmail Tom lead to the ferryman's death. However, unbeknownst to Tom, Sandy has inadvertently witnessed the murder.

At the wedding, Sandy keeps quiet about what she's seen, but almost says something at the point in the ceremony where the clergy asks if anyone "can give reason why these two should not be joined in matrimony." Before she can speak, the church's front doors burst open and the flowers all begin to wilt as the candles die out, bringing the ceremony to an abrupt and unpleasant end.

Later that night, Tom goes to the lighthouse, telling Vi that he's leaving the island. Soon after, Sandy listens in to what Tom says. When Tom finds her, he realizes that he's now trapped; Sandy knows too much and could possibly tell Meg and the others. A desperate Tom leads Sandy up to the broken lighthouse railing with the intent to push her over. But just then, Vi's ghost swoops down on Tom, causing him to go over the edge as Sandy watches.

Soon afterward, the islanders go searching for Tom's body. However, the first one they find is Vi's. Shortly afterward, Tom's body is found and placed next to Vi's body, which somehow manages to turn and lay its arm across his body. On Vi's dead hand is the engagement ring that was supposed to be Meg's, signaling that Tom is now stuck forever with Vi.

THE REVIEW:  It's funny because when you hear the opening credit music, you think this is going to be a terrible movie, when in reality it's actually halfway decent.  There's a lot of clever stuff in here, such as the record playing "Tormented" and the symbolism at the end.

The beatnik was not needed.  I mean, I know there had to be a murder committed to further the plot, but why him?  He just popped in out of nowhere to get money and then he gets killed.  And how could Tom want to kill Sandy?  She's SO.  ADORABLE!!!!  That little magic trick she did was the cutest thing ever!!!  Good spooky elements too, like the disembodied hand and the floating head.  Good special effects too.  4 out of 5.  Fun horror flick.

Full movie:

       

Sunday, September 25, 2011

Saturday Night Horror: The Brain That Wouldn't Die (1962)

Director:  Joseph Green
Cast:  Jason Evers, Virginia Leith, Leslie Daniels, Adele Lamont, Bonnie Sharie, Paula Maurice. Eddie Carmel

Welcome to another edition of Saturday Night Horror at the Psycho Ward!  This week, we're skipping to Disc 6, Side A for this popular early 60s horror classic.

THE PLOT:  Bill Cortner (Jason Evers) is a doctor working under his father's shadow.  Like every mad scientist we've ever seen at the movies, he is convinced that he can bring the dead back to life by giving them the body of someone else and injecting a special serum into them so that their blood and everything else will cooperate with their new body.

When his fiancee, Jan Compton (Virginia Leith) dies in a car accident, Bill is overjoyed to find that she has been decapitated.  He doesn't realize that he's probably the only person in the world that would have that reaction to a decapitation.  He takes her head back to the lab (evil laugh goes here) and connects it to all these tubes, and then goes on a mission to find a woman with the perfect body.  While he's doing this, the monster in the closet (Eddie Carmel), at the command of Jan's head, kills Kurt, the loveable assistant who pushed Jan's buttons a bit too much, by ripping his arm off.  Poor Kurt.  He was my favorite. :(

After searching in a few places, he finally finds what he's looking for in Doris, an old friend.  He takes her back to his home, drugs her, and begins to experiment on her.  Jan, who now hates Bill because of what he plans to do to her, speaks up and says that she doesn't want a new body.  Bill reacts in the only way he knows how:  by doing the same thing he's done the entire movie and treating her like a three-year-old and taping her mouth shut. 

Bill makes the same mistake that Kurt made and stands in front of the open hatch of the monster's closet.  The monster grabs him in a headlock and finally gets the door open.  We finally get to see the monster, who has a cone-like head and an eye on his forehead.  Its skin is horribly wrinkled.  I screamed.  The thing sets the lab on fire and carries Doris to safety, so in the end you have to cheer for the monster, you know?

THE REVIEW:  This film is quite graphic, not just sexually, but it does have an intense amount of blood when Kurt is murdered.  The thing you have to remember is that by the 60s, the Hayes Code was easing up a bit and by 1969, there were films with sex scenes.  Granted, there are no sex scenes in this film, but the sexual content does make its presence known.

This film is also known as The Head That Wouldn't Die, which makes a hell of a lot more sense.  Going into this film, I thought it was going to be a sci-fi thriller, 50s-style, with a mutant brain.  Jan does mention that her brain is connected with the monster in the closet's brain, but we don't physically see a brain.

When I heard "monster in the closet," I immediately thought of Karloff's Frankenstein monster.  It's a mad scientist film, remember?

All in all, this film was a good scare and there is something about mad scientist films that makes them never get old.  3.5 out of 5 stars.

Full movie below:

Sunday, September 18, 2011

Saturday Night Horror: Maniac (1934)

Director:  Dwain Esper
Cast:  Bill Woods, Horace B. Carpenter

Now that I have my horror classics collection, I decided to make something new.  Welcome to Saturday Night Horror at the Psycho Ward!  So I decided not to watch all 50 movies from Disc 1 through Disc 12 in order and I decided to jump around a bit.  Tonight I went to Disc 5, Side A for this 1934 B horror/exploitation film.

THE PLOT (from our friends at Wikipedia): 
Don Maxwell (Bill Woods) is a former vaudeville impersonator who is working as the lab assistant to Dr. Meirschultz (Horace Carpenter) a mad scientist attempting to bring the dead back to life. When Don kills Meirschultz, he attempts to hide his crime by "becoming" the doctor, taking over his work, dressing like him, wearing his beard, and slowly going insane.

The "doctor" treats a mental patient, Buckley (Ted Edwards), but accidentally injects him with adrenaline, which causes him to go into violent fits. Buckley's wife (Phyllis Diller) discovers the body of the real doctor, and blackmails Don into turning her husband into a zombie. The ersatz doctor turns the tables on her by manipulating her into fighting with his estranged wife (Thea Ramsey), a former showgirl. When the cat-breeding neighbor Goof (played by an unknown actor) sees what's going on, he calls the police, who stop the fight and, following the sound of Satan the cat, find the body of the real doctor hidden behind a brick wall.

THE REVIEW:  This movie was most likely made before the implementation of the Hayes Code, hence its alternate title, Sex Maniac, and the amount of skin we see from the women in the film.  The movie certainly didn't seem like 51 minutes.  It seemed like 20.  Nothing about it was genuinely scary, and the acting in the beginning was overdone.  It was a fun little mad scientist ride, but it has absolutely nothing on Colin Clive and Dwight Frye in the '31 Frankenstein.  I give it 2.5 stars out of 5.



 
Full movie:

Monday, September 12, 2011

Carnival of Souls (1962)

Director:  Herk Harvey
Cast:  Candace Hilligoss, Frances Feist, Sidney Berger, Art Ellison

So yesterday I went on a little (?) shopping spree for Singin' In the Rain (1952 - review coming soon).  Best Buy, Wal-Mart, and Target must have colds or something, because I couldn't find it anywhere (don't worry, Donald!  You and I will be together soon!),

Anyways, while browsing in Best Buy for SITR, I stumbled across a horror classics collection that I had passed up for a sandwich last year (I was hungry, sue me).  Naturally, I had to get it (it has 50 films on it, for crying out loud, and two Dwight Frye films), and the first film I watched was Herk Harvey's Carnival of Souls.

THE PLOT:  Mary Henry (Candace Hilligoss) and her friends get into a drag race with some guys (it's 1962, give them a break).  During the race, the girls' car crashes into a river.  Mary mysteriously survives the crash and travels to Salt Lake City to start her career as a church organist.  While driving, she passes an old pavilion that she learns used to be a carnival and a dance hall.  Driving further, she encounters a character she calls "The Man" (director Herk Harvey), a ghastly man in a suit and tie that looks a hell of a lot like Heath Ledger as The Joker.                

Mary makes it to town and meets her landlady, Mrs. Thomas (Frances Feist).  And for some odd reason, horror filmmakers feel like there has to be a type of love story, so they make Mary meet her love interest, John Linden (Sidney Berger), though she doesn't seem to be that interested in him.  I'm not going to talk about that because horror movie =/= romantic comedy.

So anyways, Mary becomes obsessed with the pavilion and The Man and the other ghouls begin to appear more often.  One night as she is practicing the organ in the church, her music goes from hymns to a strange, demonic melody.  Her hands and feet move slowly and caress the piano as she envisions a hoard of ghouls emerging from the water to waltz to her music.  As The Man reaches out for her, the minister (Art Ellison) seizes her hands and tells her that her music is sacrilege.  Before you ask, I doubt he's a Mormon.

Mary keeps experiencing the strange events.  Those bratty ghouls even go so far as to distort the space-time continuum, making Mary experience a world where she is unseen and unheard by anyone else.  The final time she goes back to the pavilion, she experiences herself as a ghoul waltzing with The Man.  At the end, the ghouls continue cornering her, eventually chasing her out of the pavilion, in probably the most humorous chase scene ever.  Nothing is funnier than seeing ghouls running halfheartedly after a mortal.

Anyway, the ghouls track her down and spirit her away (means you get carried off somewhere by magic) and Dr. Samuels (Stan Levitt, the shrink that was trying to help her), the minister and the police cannot figure out what happened to her.

The final scene of the film shows Mary's body in the car with her friends being pulled out of the river.  All three girls are dead.  Oooooooo.  The End.

THE REVIEW:  Every horror movie has a cliche horror plot.  In this case, it's the cliche plot about the scary, old abandoned place that everyone tells you not to go to but something keeps dragging you back.  Sometimes the confusion of events in a horror movie makes it a good film.  In this case, it does.  It wasn't as scary as I wanted and would have liked, and that love story was not needed.  I surprisingly found myself a fan of the ghouls' makeup, even though, as I mentioned, most of them looked like Heath Ledger as The Joker.  3.5 stars out of 5.  Good independent B&W early 60's horror.  

Monday, September 5, 2011

Silent Sunday Edition: The Vanishing American (1925)

Director:  George B. Seitz
Cast:  Richard Dix, Lois Wilson, Noah Beery

Welcome to another Silent Sunday at The Psycho Ward!  This week's silent is a historical drama based on Zane Grey's 1925 novel of the same name.

PLOT:  Typical movie about Native Americans (no, we do not call them Indians anymore.  Sorry!).  It begins with the clans known as "Basket Weavers" and then the cliff dwellers, which we know to be the Anasazi.  It then shows the Spanish conquest of the natives in 1540 and the introduction of horses.  Next, it fast-forwards three hundred years and shows Kit Carson's betrayal of the Native Americans to the US Army.  Fast-forwarding to World War I, the Native Americans become soldiers in the war against Germany.

The film basically centers around Nophaie, the Warrior (Richard Dix.  In the beginning of the film we learn that Nophaie is a title given to the strongest man in the tribe), and his fight to gain freedom for his people.  He has helpers along the way too; a schoolteacher named Marian Warner (Lois Wilson), and Bart Wilson (Bert Woodruff) who at the end of the film becomes the new agent.  Booker (Noah Beery) is the stereotypical white man against the Native American civilization.

THE REVIEW:  The big difference between this film and D.W. Griffith's The Birth of a Nation is that while both films are made from an American perspective, The Vanishing American favors the underdog, in this case, the Native Americans.  In the beginning, I was a bit worried because they were being portrayed as savages, helpless against the Spanish conquest, but then the cue cards came up describing the whites as "monsters," and while that was appalling, it was very thoughtful and wise of director George Seitz to acknowledge how the Native Americans felt about their white attackers.  And I am a history kinda person, so I enjoyed this film.  4 out of 5 stars.             

Sunday, July 24, 2011

The Two Faces of Dr. Jekyll (US: Jekyll's Inferno/House of Fright, 1960)

Director:  Terence Fisher
Cast:  Paul Massie, Dawn Addams, Christopher Lee, David Kossoff, Francis de Wolff

Welcome to the first Hammer Horror film review at The Psycho Ward!  For those who don't know, Hammer is a British subsidiary of Exclusive Media Group that is very popular for the Christopher Lee Dracula films.

THE PLOT:  While it basically follows the same storyline as the version of Dr. Jekyll and Mr. Hyde we know and love, there are a few differences.  For one, all of the characters, except for Jekyll and Hyde, have been replaced with completely original characters.  There is a semi-original storyline as well.

Henry Jekyll's (Paul Massie) wife Kitty (Dawn Addams) cheats on him with his friend Paul Allen (Christopher Lee, who hounds money from Jekyll). Ignoring the warnings of his colleague and friend Dr. Ernst Littauer (David Kossoff), Jekyll concocts a chemical potion which he hopes will help him learn the depths of the human mind. Testing the potion on himself, he transforms into Mr. Hyde, a young and handsome, but also murderous and lecherous beast. Soon, Hyde becomes bored with conventional debauchery, and when his eyes catch Kitty, he decides he must have her. When Kitty rejects him, Hyde rapes and murders her, and frames his other self for these crimes.  He also passes the time by wooing a snake charmer, but he eventually murders her and uses her snake to kill Paul.

THE REVIEW:  While usually I am against using original characters and original storylines to "retell" classics (look at the atrocity that was the 1998 "retelling" of Great Expectations), I have to say that these characters and this storyline work terrifically well here.  No wonder; it was directed by Terence Fisher.

The only thing I didn't like was Massie's acting, especially while he was charming Maria, but it occurred throughout the whole film.  He was too over-the-top as Hyde, but perfect as Jekyll.  Despite the over-the-top acting, his performance as Hyde is probably the most cruel and cunning I've ever seen, and that makes it even more wonderful.  Sadly, the over-the-topness has to dock this film's score a bit.  4.5 out of 5 stars.  Brilliant twist on the original story, and to be honest, I much prefer Hyde as young and handsome, and not for the reason you may think;  if you think about it, it makes a tad bit more sense than the monster we always imagine Hyde to be, because if you look at most murderers and beasts today, aren't they young and handsome?

Watch the full film below:

   

Friday, July 8, 2011

Frankenstein (1931)

Director:  James Whale
Cast:  Colin Clive, Dwight Frye, Boris Karloff, Mae Clarke, John Boles

Another Dwight Frye classic, this time with an all-star cast.

THE PLOT:  Forget the plot, you know what Frankenstein is about, even if you're a valley girl who doesn't give a rat's ass about true art.

THE REVIEW:  I honestly want to know why Dwight Frye hasn't received any posthumous Oscars, or at least nominations, for his roles.  The man is a legend.  I also want to know why he was typecast when he played madmen to a T.

Colin Clive is so compelling as Dr. Frankenstein.  When Clive and Frye are together in this film, you can almost feel the insanity radiating off on you.  Brilliant acting, so this film gets a 4 out of 5.  It is based on the novel by Mary Shelley, and it loses a point because, like Dracula, it didn't exactly stick to the original storyline.  The monster, played by Boris Karloff, was also a bit more comical than scary. 

Dr. Strangelove, Or: How I Learned to Stop Worrying and Love the Bomb (1964)

Director:  Stanley Kubrick
Cast:  Peter Sellers, George C. Scott, Sterling Hayden, Keenan Wynn, Slim Pickens

Thanks to BI for the request!

THE PLOT (from Wikipedia): 
United States Air Force Brigadier General Jack D. Ripper (Sterling Hayden), the commander of Burpelson Air Force Base, initiates a plan to attack the Soviet Union with nuclear weapons in the paranoid belief that there is a Communist conspiracy involving water fluoridation which will lead to contamination of everyone's "precious bodily fluids". Ripper orders his nuclear-armed B-52s, which were holding at a fail-safe point as part of a special training exercise, to move into Soviet airspace. Group Captain Lionel Mandrake (Peter Sellers), a Royal Air Force exchange officer serving as General Ripper's executive officer, issues the command on Ripper's order but later realizes that it was not issued in retaliation to a Soviet attack on America. He resolves to recall the planes but Ripper refuses to disclose the three-letter code needed to get the bombers back to base and locks the two of them in his office.
In the "War Room" at The Pentagon, General Buck Turgidson (George C. Scott) briefs President Merkin Muffley (Sellers). He reports that Ripper apparently took advantage of "Wing Attack Plan R," a wartime contingency plan which is intended to give Field Commanders authority to retaliate with nuclear weapons in the event that a Soviet first strike obliterates Washington, D.C. and incapacitates U.S. leadership. When President Muffley angrily begins to question the merits of this, the General responds that he does not "think it's quite fair to condemn a whole program because of a single slip-up". When Muffley proposes that troops be sent to the Air Force Base to seize Ripper (and hopefully force the recall code from him), Turgidson warns that General Ripper will have put the security forces there on high alert—ready to repel any outside force.
Turgidson tries to persuade Muffley to seize the moment and eliminate the Soviet Union by launching a full-scale attack on the Soviet Union. The General believes the United States is in a superior strategic position and a first strike would destroy the majority of the Soviets' missiles before they could retaliate. Without such a response, the US would be annihilated. Muffley refuses to have any part of such a scheme, and instead summons the Soviet ambassador, Alexei de Sadeski (Peter Bull). The Ambassador calls Soviet Premier Dimitri Kisov on the "Hot Line" and gives the Soviets information to help them shoot down the American planes, should they cross into Soviet airspace.
The Ambassador reveals that his side has installed a doomsday device that will automatically destroy life on Earth if there is a nuclear attack against the Soviet Union. The American President expresses amazement that anyone would build such a device. But Dr. Strangelove (Sellers), a former Nazi and weapons expert, admits that it would be "an effective deterrent... credible and convincing." However, a recent study by an American think tank had dismissed it as being too dangerous to be practical.


The wheelchair-using Strangelove explains the technology behind the Doomsday Machine and why it is essential that not only should it destroy the world in the event of a nuclear attack but also be fully automated and incapable of being deactivated. He further points out that the "whole point of the Doomsday Machine is lost if you keep it a secret". When asked why the Soviets did not publicize this, Ambassador de Sadeski sheepishly answers it was supposed to be announced the following Monday at the (Communist) Party Congress because "the Premier loves surprises."

U.S. Army forces arrive at Burpelson to arrest General Ripper. Because Ripper has warned his men that the enemy might attack disguised as American soldiers, the base's security forces open fire on them. A pitched battle ensues, which the Army forces finally win and Ripper, fearing torture to extract the recall code shoots himself. Colonel "Bat" Guano (Keenan Wynn) forces his way into Ripper's office and immediately suspects that Mandrake, whose uniform he does not recognize, is leading a mutiny and arrests him. Mandrake convinces Guano he must call the President with the recall code (OPE) which he has deduced from Ripper's desk blotter doodles but has to use a pay phone to do so. Guano has to shoot open a Coca-Cola machine to obtain coins for the phone, which he does reluctantly. Off camera, Mandrake finally contacts the Pentagon and is able to get the code combinations to the President and Strategic Air Command.

The correct recall code is issued to the planes and all those that have not been shot down by the Soviet military turn back toward base, except one. Its radio and fuel tanks were damaged by an anti-aircraft missile, leaving the plane unable either to receive the recall message or reach its primary or secondary targets, where the Soviets have concentrated all available defences at the urging of President Muffley. The pilot heads for the nearest target of opportunity, an ICBM complex. Aircraft commander Major T. J. "King" Kong (Slim Pickens) goes to the bomb bay to open the damaged doors manually, straddling a nuclear bomb as he repairs arcing wires overhead. When he effects his electrical patches, the bomb bay doors suddenly open, the bomb releases and Kong rides it to detonation like a rodeo cowboy, whooping and waving his cowboy hat. The H-bomb explodes and the Doomsday Device's detonation is inevitable. In the War Room, Ambassador de Sadeski says life on Earth's surface will be extinct in ten months. Dr. Strangelove recommends the President gather several hundred thousand people to be relocated into deep mine shafts, where the radioactivity would never penetrate so the United States can be repopulated. Strangelove suggests a sex ratio of "ten females to each male," with the women selected for their stimulating sexual characteristics and the men selected for youth, health, intellectual capabilities and importance in business and government. He points out that with proper breeding techniques, the survivors could work themselves up to the present Gross National Product in 20 years and emerge after the radioactivity has ceased in about 100 years. At one point, Strangelove's errant right arm tries to give the Nazi salute and then strangle him.
General Turgidson warns of a possible "Mineshaft Gap" that might be a factor when the survivors emerge. De Sadeski walks away from the group and begins taking pictures of the war room's Big Board with a spy camera disguised as a pocketwatch. Just as Dr. Strangelove miraculously gets up from his wheelchair, takes a couple of steps and shouts, "Mein Führer! I can walk!," the Doomsday Machine activates. The film then cuts to a montage of nuclear detonations across the world, accompanied by Vera Lynn's recording of "We'll Meet Again."
 
THE REVIEW:  BI could not have made a better choice.  I'm a huge fan of Peter Sellers' work, especially in the Pink Panther films.  Sellers delivers more comedy than any of those retards alive today can.  Stanley Kubrick is an amazing and funny director of The Shining and Color Me Kubrick with John Malkovich.  As for George C. Scott, I'm a big fan of his role as Scrooge in the 80s adaptation of A Christmas Carol.

I watched this film in summer school going into tenth grade.  My teacher described it as a black comedy, and it really is, being released when tensions were rising in Vietnam in '64 and the midst of the Cold War.

In this film, Sellers is so versatile that he is able to play two characters at once, a skill reminiscent of another one of my favorite actors Alec Guinness' performance as eight characters in Kind Hearts and Coronets (1946).

This film is funny, and it makes you think.  4.5 out of 5. 

Tuesday, June 28, 2011

Capone (1975)

Director:  Steve Carver
Starring;  Ben Gazzara, Harry Guardino, Susan Blakely, Sylvester Stallone, John Cassavetes, Frank Campanella, John Orchard, Carmen Argenziano, George Chandler, John Davis Chandler, Royal Dano

Another gangster film! 

THE PLOT:  The film basically chronicles the rise and fall of Al Capone (Ben Gazzara), through his apprenticeship and partnership with Johnny Torio (Harry Guardino) and Frankie Yale (John Cassavetes).  He dates Iris Crawford (Susan Blakely), and wages war on the Irish North Side Mob.

THE REVIEW:  The whole romance thing kind of reminded me of the love story in the extremely strange '92 version of Dracula.  Other than that, this movie was fantastic.  I was surprised when they showed the clips from The St. Valentine's Day Massacre film starring Jason Robards that was made in '67.  While the killings were not as horrific as in TSVDM, they were still very gory and cool.  4.5 out of 5 stars.

The World Is Not Enough (1999)

Director:  Michael Apted
Cast:  Pierce Brosnan, Sophie Marceau, Robert Carlyle, Denise Richards

Bond film nineteen is much better than Bond film eighteen.

THE PLOT:  After a bomb is triggered by a signal via Sir Robert King's lapel pin, he dies in MI6 headquarters and James Bond (Pierce Brosnan) is sent to protect his daughter, Elektra (Sophie Marceau).  What he doesn't know is that Elektra is in love with and conspiring with her "kidnapper" Victor Zokas, aka Renard (Robert Carlyle).  They are working together to create "a bright, oil-driven future."  Renard kidnaps M (Judi Dench) and Bond kills Elektra (not after sleeping with her, of course).

Oh yeah, Bond does all of this with a broken shoulder.  Like a boss, right?

THE REVIEW:  I love this movie a lot more than TND.  I love the boat chase at the beginning,  The only minus is the submarine scenes at the end.  I've never been a fan of underwater Bond, excluding Thunderball.  I give this film 4 out of 5 stars.

Tomorrow Never Dies (1997)

Director:  Roger Spottiswoode
Starring:  Pierce Brosnan, Jonathan Pryce, Michelle Yeoh, Teri Hatcher

As much as I hate admitting it, some films from the 90s are classics. *washes mouth out with soap*

Anyways, welcome to the first Bond film review at the Psycho Ward!  Today I'll be reviewing the eighteenth Bond film, Tomorrow Never Dies.

THE PLOT:  In the eighteenth installment of the Bond series, James Bond (Pierce Brosnan) teams up with Chinese agent Wai Lin (Michelle Yeoh) to stop maniacal journalist Elliot Carver (Jonathan Pryce, big fan of him), who is intent on breaching China's refusal to allow his groundbreaking new satellite and starting World War III. 

People who can't understand the coolness of James Bond/big words:  typical secret agent stuff.

THE REVIEW:  This is not my favorite Bond movie by any means.  It's not as terrible as For Your Eyes Only and DEFINITELY not as horrible as Quantum of Solace.  It has its fun moments.  To be fair, it sort of sounds like a plot for a Spider-Man or Superman comic.  I don't know.  Not much sex.  I'll give it a 3 out of 5.

  

Sunday, June 19, 2011

Silent Sunday Edition: The Phantom Carriage (Körkarlen, 1920)

Director:  Victor Sjöström
Cast:  Victor Sjöström, Hilda Borgström, Tore Svennberg

Welcome to another Silent Sunday at The Psycho Ward!  This week I'll be reviewing a Swedish horror silent (what is with these Swedes and horror movies?), The Phantom Carriage (in Swedish, Körkarlen).

THE PLOT:  Oh, you know, this is just another one of those stories about a bad person who dies when his buddies beat him up, and then a messenger of Death comes along and shows him his past and all the people that mean a lot to him, and then he repents and says that he'll change his ways, and then the Grim Reaper puts him back in his body and takes him at his word.

On New Year's Eve, David Holm (Victor Sjöström) is an alcoholic who is spending the holiday with some buddies in a graveyard (who does this, even in the 20s and considering the plot line?).  He tells a story about his old friend Georges (Tore Svennberg) who, on the previous New Year's Eve, told a story about Death's carriage and why he doesn't want to die on New Year's Eve, because a person that dies on New Year's Eve becomes Death's messenger for the next year, showing tortured souls how to redeem him/herself.  Apparently not many people in Sweden in 1920 died on New Year's Eve, because only one person gets chosen specifically.

Well, back to David and his story.  He says that Georges supposedly died last New Year's Eve....dun da dun dun.  Bringing back memories of ghost stories around the campfire?

David and his buddies get into a fight and the buddies attack him when a messenger says that the dying Sister Edit (Astrid Holm) is calling for him and David says he won't go.  The boys crack a beer bottle over his head and they run away once they realize that David has died at the stroke of midnight.

Speaking of midnight, guess who the lucky guy is that got the job of Death Messenger?  Yup, it's Georges!  He shows up in a horse and carriage in true Grim Reaper fashion and shows David how wonderful his life used to be with his wife, Anna (Hilda Borgström) before he met Georges and the other alcoholics.   It is revealed how Anna left him after he was jailed for intoxication. He also reminds him how David exactly one year ago was taken care of by Edit, and while treating her badly, he gave her his promise to find her the following year so she would find out whether her prayers for him had worked or not.

Georges informs David that the promise has to be fulfilled and brings him in the carriage to Edit’s house. In another flashback it is shown how Edit once found David in a bar with his friend Gustafsson (Tor Weijden).   Edit persuaded them to go to a Salvation Army meeting. At the meeting, Gustafsson submitted himself to God, but David stayed cynical. Present at the meeting was also David's wife. Edit tried to bring the couple together again. At first they were optimistic, but soon David's drinking drove them into despair. One night David became aggressive when Anna tried to protect their children from being infected by David's tuberculosis. He was locked in the kitchen, but broke through the door with an axe.

When the driver arrives in Edit's room, she begs him to let her live until she sees David again. She thinks she is the one to blame for his guilt, as she brought the couple together again. When David hears this he is moved. He kisses her hands, and when Edit sees his regret she can die in peace. Georges then takes David to Anna, who is planning to kill herself and their children. David begs Georges and God to let him interfere. Georges allows him to return to life. David and Anna embrace each other and cry.  Sinner, redeemed.

MY REVIEW:  Good spin on an old folk tale, and it wasn't nearly as scary as a certain Swedish film made in 1922 that we won't mention here.  I think I'd give it a 4 out of 5.  Well done, and lesson learned.