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.
Your source for classic horror and comedy film reviews, and then some.
Tuesday, June 28, 2011
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.
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.
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.
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.
A Face in the Crowd (1957)
Director: Elia Kazan
Cast: Andy Griffith, Patricia Neal, Walter Matthau, Anthony Franciosa, Lee Remick
Excuse me, why hasn't Andy Griffith received an Academy Award for this film yet? Oh yeah, because at some point in history, Hollywood let the lunatics out of the asylum and now they're running the show--what used to be a very entertaining show, but now is a very dull and boring one full of miserably made comic book interpretations.
This film is the poster film for how anyone can be corrupted by money and power. Apparently no one listened to this film's message, or else we wouldn't have the Hollywood we have today.
THE PLOT: "Lonesome" Larry Rhodes (Andy Griffith) is serving time in an Arkansas jail for drunk and disorderly when he is picked up by local radio host Marcia Jeffries (Patricia Neal). She notices that he has amazing singing talent and he quickly becomes a star in Memphis. Soon after, he becomes the spokesperson for Vita-Jex, a Viagra-like pill that gives you amazing energy. Rhodes becomes a star and marries a drum majorette (Lee Remick).
Rhodes learns that a senator needs help winning votes for his campaign. He engineers a scheme that will make people vote for him, and subsequently turns Marcia and the entire public against him when he reveals his narcissism on camera after one of his shows. No one shows up for his party, and he takes on a Renfield-type persona (why am I always comparing people to this?), shouting at the top of his lungs and making his bum friend from Arkansas hit his clapping machine that Rhodes himself invented. At the end, Mel Miller (Walter Matthau) delivers a classic speech about how Rhodes will go down in history. The film ends with Rhodes screaming "Marcia!" at the top of his lungs.
THE REVIEW: Before there was Britney Spears' hit "Lucky," about corruption (and it actually happened), there was this film. My mom watched it with me once, and she said it was an incredibly powerful film for Andy to take on, and I agree. Everyone who has dreams of being rich and famous should watch this movie to see what could potentially become of them. 5 out of 5. Well done, Mr. Griffith.
Cast: Andy Griffith, Patricia Neal, Walter Matthau, Anthony Franciosa, Lee Remick
Excuse me, why hasn't Andy Griffith received an Academy Award for this film yet? Oh yeah, because at some point in history, Hollywood let the lunatics out of the asylum and now they're running the show--what used to be a very entertaining show, but now is a very dull and boring one full of miserably made comic book interpretations.
This film is the poster film for how anyone can be corrupted by money and power. Apparently no one listened to this film's message, or else we wouldn't have the Hollywood we have today.
THE PLOT: "Lonesome" Larry Rhodes (Andy Griffith) is serving time in an Arkansas jail for drunk and disorderly when he is picked up by local radio host Marcia Jeffries (Patricia Neal). She notices that he has amazing singing talent and he quickly becomes a star in Memphis. Soon after, he becomes the spokesperson for Vita-Jex, a Viagra-like pill that gives you amazing energy. Rhodes becomes a star and marries a drum majorette (Lee Remick).
Rhodes learns that a senator needs help winning votes for his campaign. He engineers a scheme that will make people vote for him, and subsequently turns Marcia and the entire public against him when he reveals his narcissism on camera after one of his shows. No one shows up for his party, and he takes on a Renfield-type persona (why am I always comparing people to this?), shouting at the top of his lungs and making his bum friend from Arkansas hit his clapping machine that Rhodes himself invented. At the end, Mel Miller (Walter Matthau) delivers a classic speech about how Rhodes will go down in history. The film ends with Rhodes screaming "Marcia!" at the top of his lungs.
THE REVIEW: Before there was Britney Spears' hit "Lucky," about corruption (and it actually happened), there was this film. My mom watched it with me once, and she said it was an incredibly powerful film for Andy to take on, and I agree. Everyone who has dreams of being rich and famous should watch this movie to see what could potentially become of them. 5 out of 5. Well done, Mr. Griffith.
The St. Valentine's Day Massacre (1967)
Director: Roger Corman
Cast: Jason Robards, George Segal, Ralph Meeker, Jack Nicholson (uncredited)
I'm reviewing this film not just because of Jack Nicholson's cameo appearance, but because this is, in my opinion, the greatest gangster film of all time. In my opinion, the last great gangster film before The Untouchables, which was the absolute last.
THE PLOT: It's basically the St. Valentine's Day Massacre. Everyone in the film is based on the actual people that helped--and hindered--Al Capone in his slaughter of Bugs Moran's Irish North Side gang. I used to be really into this stuff, so of course I know all about this stuff, but I'll tell you anyway.
On February 14, 1929, hit men from Al Capone's (Jason Robards) South Side gang in Chicago are hired buy Vincenzo Gibaldi (alias "Machine Gun" Jack McGurn, played by Clint Richie) to kill George "Bugs" Moran (Ralph Meeker). The plan was that the hit men would enter the SMC Cartage warehouse on North Clark Street with two of the shooters disguised as policemen, and the others wearing suits and ties and overcoats. Once they had cornered the seven men against the wall, the "cops" opened fire, killing the seven in a pool of blood.
THE REVIEW: This movie is SOO COOL!!! The narration by Paul Frees adds to the realistic value that this film has. It really is brilliant, and everyone does a superb job of acting, although Jason Robards kind of reminds me of Dracula when he confronts Giuseppi (Joe) Aiello (Alexander D'Arcy), what with all the hissing noises. Even Jack Nicholson's cameo is superb. I didn't know he could pull off such a good raspy voice! Well, he IS from New York, after all...but he's Irish...oh, well.
I give this film 5 out of 5. It's such a real gangster film, and while it seems way ahead of its time, it brings back the spirit of the gangster films of the 1930s extremely well.
All parts are on YouTube. I will post them here. Enjoy! :)
^Jack's cameo is in this part starting at 2:55.
Cast: Jason Robards, George Segal, Ralph Meeker, Jack Nicholson (uncredited)
I'm reviewing this film not just because of Jack Nicholson's cameo appearance, but because this is, in my opinion, the greatest gangster film of all time. In my opinion, the last great gangster film before The Untouchables, which was the absolute last.
THE PLOT: It's basically the St. Valentine's Day Massacre. Everyone in the film is based on the actual people that helped--and hindered--Al Capone in his slaughter of Bugs Moran's Irish North Side gang. I used to be really into this stuff, so of course I know all about this stuff, but I'll tell you anyway.
On February 14, 1929, hit men from Al Capone's (Jason Robards) South Side gang in Chicago are hired buy Vincenzo Gibaldi (alias "Machine Gun" Jack McGurn, played by Clint Richie) to kill George "Bugs" Moran (Ralph Meeker). The plan was that the hit men would enter the SMC Cartage warehouse on North Clark Street with two of the shooters disguised as policemen, and the others wearing suits and ties and overcoats. Once they had cornered the seven men against the wall, the "cops" opened fire, killing the seven in a pool of blood.
THE REVIEW: This movie is SOO COOL!!! The narration by Paul Frees adds to the realistic value that this film has. It really is brilliant, and everyone does a superb job of acting, although Jason Robards kind of reminds me of Dracula when he confronts Giuseppi (Joe) Aiello (Alexander D'Arcy), what with all the hissing noises. Even Jack Nicholson's cameo is superb. I didn't know he could pull off such a good raspy voice! Well, he IS from New York, after all...but he's Irish...oh, well.
I give this film 5 out of 5. It's such a real gangster film, and while it seems way ahead of its time, it brings back the spirit of the gangster films of the 1930s extremely well.
All parts are on YouTube. I will post them here. Enjoy! :)
^Jack's cameo is in this part starting at 2:55.
Thursday, June 16, 2011
Nosferatu: eine Symphonie des Grauens (A Symphony of Horror/Terror, 1922)
Director: F.W. Murnau
Cast: Max Schreck, Gustav von Wangenheim, Greta Schröder, Alexander Granach, Ruth Landshoff, Wolfgang Heinz
Finally, I'm doing a review of Nosferatu! About time, since I've been talking about it for God knows how many reviews.
Nosferatu is widely considered the most realistic, famous and, in my opinion, intense, vampire film ever made. The plot is basically the same as Dracula, so I'm just going to go ahead and move into the review.
The reason why the names are changed is because Murnau could not obtain the rights to the original Dracula novel by Bram Stoker. Thus, Dracula becomes Orlok (Max Schreck), Jonathan Harker becomes Thomas Hutter (Gustav von Wangenheim), Mina Harker becomes Ellen Hutter (Greta Schröder), Renfield becomes Knock (Alexander Granach), and Lucy becomes Annie (Ruth Landshoff). However, the film is now public domain in the States, so the dialogue screens have been changed to the original Dracula names.
I think this film deserves 5 out of 5 stars. Brilliant directing, and it does its job as a horror film.
I have recently discovered the original German version, and I must say, it is much more chilling and haunting than the Americanized version. Some of the dialogue scenes are different, and the music is completely different. It is also tinted and the dialogue text is different. I will post both the German version and the American version here. Both are not for the faint of heart, I must say; this movie made me utter my first scream.
German version
Cast: Max Schreck, Gustav von Wangenheim, Greta Schröder, Alexander Granach, Ruth Landshoff, Wolfgang Heinz
Finally, I'm doing a review of Nosferatu! About time, since I've been talking about it for God knows how many reviews.
Nosferatu is widely considered the most realistic, famous and, in my opinion, intense, vampire film ever made. The plot is basically the same as Dracula, so I'm just going to go ahead and move into the review.
The reason why the names are changed is because Murnau could not obtain the rights to the original Dracula novel by Bram Stoker. Thus, Dracula becomes Orlok (Max Schreck), Jonathan Harker becomes Thomas Hutter (Gustav von Wangenheim), Mina Harker becomes Ellen Hutter (Greta Schröder), Renfield becomes Knock (Alexander Granach), and Lucy becomes Annie (Ruth Landshoff). However, the film is now public domain in the States, so the dialogue screens have been changed to the original Dracula names.
I think this film deserves 5 out of 5 stars. Brilliant directing, and it does its job as a horror film.
I have recently discovered the original German version, and I must say, it is much more chilling and haunting than the Americanized version. Some of the dialogue scenes are different, and the music is completely different. It is also tinted and the dialogue text is different. I will post both the German version and the American version here. Both are not for the faint of heart, I must say; this movie made me utter my first scream.
German version
Wednesday, June 15, 2011
Shadow of the Vampire (2000)
Director: E. Elias Merhige
Cast: John Malkovich, Willem Dafoe, Udo Kier, Cary Elwes, Catherine McCormack, Eddie Izzard
You're probably wondering why I'm going against everything I've sworn off and doing a review of a modern movie. The only reason I'm doing it is because it's based on a classic horror film.
THE PLOT: The film is pretty much a fictionalized account of the making of Nosferatu (A review is finally coming right after this one). The year is 1921 and Frederich Wilhelm "F.W." Murnau (John Malkovich) has all of his actors lined up for his vampire film based on Bram Stoker's novel, Dracula. There's only one problem: he's missing the vampire. But apparently he's not worried because the scenes with the vampire don't come in till about 30 minutes into the film.
One night at an old Slovak castle, the crew is filming the scene where Thomas Hutter (more on why the names were changed in the Nosferatu review), played by Gustav von Wangenheim (Eddie Izzard) meets Count Orlok for the first time, and while I'm not sure that this is planned on Murnau's part, but Count Orlok (Willem Dafoe) walks out of the shadows. Murnau then announces that Max Schreck will be playing the part of Count Orlok.
The crew believe, foolishly, that Schreck's odd activities are just his way of staying in character. Oh, he was staying in character, all right; the crew learns that he is an actual vampire and that Murnau has made a deal with him that he will get the lead actress, Greta Schroeder (Catherine McCormack) in exchange for starring in his film.
Every good director has to have a wimp on his crew, so Murnau's cameraman takes one for the team and passes out due to his shock upon seeing Schreck for the first time. He is replaced by Fritz Arno Wagner (Cary Elwes, whom you might recognize from the extremely strange 1992 version of Dracula).
So at the end, Greta dies because Schreck has bitten her. The End.
THE REVIEW: While fictionalized, the film still does give some accuracies, such as the name changes. I find it interesting that Knock was not included, but that may be because that unlike Dwight Frye's Renfield in the '31 Dracula, Knock was not written for comic relief, but for all to see how much influence Orlok can have on the unsuspecting.
I've always been a fan of John Malkovich ever since I saw Of Mice and Men. He's kind of like Dwight Frye in that he can do accents remarkably well (watch The Shadow to see how terrific Dwight is at accents).
Willem Dafoe did not look like Willem Dafoe, just like Max Schreck did not look like Max Schreck once the makeup was put on. He was almost as scary as Max Schreck himself.
The weirdest thing about this film is that Greta has some sort of orgasm. And of course, I saw this movie on IFC, and they just HAD to show her breasts. Not quite sure what it was, thinking it was just the vampire's influence. Ah well. Sadly, however, that has to dock this movie's score because that was just plain weird to watch. 4 out of 5 stars.
Trailer:
Sunday, June 12, 2011
Silent Sunday Edition - The General (1927)
Directors: Clyde Bruckman, Buster Keaton
Cast: Buster Keaton, Marion Mack
Welcome to another Silent Sunday at The Psycho Ward! This week, I'll be reviewing Buster Keaton's 1927 comedy The General.
As far as classic comedy goes, not only am I a huge Laurel & Hardy fan, I'm also a fairly big Buster Keaton fan. He was one of the best silent comedians.
I love how silent comedians would have a certain character they would play. Charlie Chaplin would always play the tramp, Harold Lloyd would always play the nerdy, unlucky guy with glasses, and Buster Keaton would pretty much play the same guy, except without glasses.
THE PLOT (I'm just going to start copying plots from Wikipedia because it's easier):
In 1861, Western & Atlantic Railroad train engineer Johnnie Gray (Buster Keaton) is in Marietta, Georgia to see one of the two loves of his life, his fiancee Annabelle Lee (Marion Mack) (the other being his locomotive, the "General"), when the American Civil War breaks out. He hurries to be first in line to sign up with the Confederate Army, but is rejected (without explanation) because he is too valuable to the Confederacy in his present job. On leaving, he comes across Annabelle's father and brother, who beckon to him to join them in line, but he sadly walks away, giving them the impression that he does not want to enlist. Annabelle coldly informs Johnnie that she will not speak to him again until he is in uniform.
A year passes, and Annabelle receives word that her father has been wounded. She travels north on the General to see him, but still wants nothing to do with Johnnie. When the train makes a stop, the passengers detrain for a quick meal. As planned, Union spies led by Captain Anderson (Glen Cavender) use the opportunity to steal the train. Annabelle becomes an inadvertent prisoner. Johnnie gives chase, first on foot, then by handcar and boneshaker bicycle, before reaching a station in Chattanooga. He alerts the army detachment there, which boards another train to give chase, with Johnnie manning the locomotive, the "Texas". However, the flatcars are not hooked up to the engine, and the troops are left behind. By the time Johnnie realizes he is alone, it is too late to turn back.
The Union agents try a variety of methods to shake their dogged pursuer (convinced he is accompanied by Confederate soldiers), including disconnecting their trailing car and dropping railroad ties on the tracks. As the unusual duel continues northward, the Confederate Army of Tennessee is ordered to retreat and the Northern army advances in its wake. Johnnie finally notices he is surrounded by Union soldiers and the hijackers see that Johnnie is by himself. Johnnie stops his locomotive and runs into the forest to hide.
At nightfall, Johnnie stumbles upon the Northern army encampment. Hungry, he climbs through a window to steal some food, but has to hide underneath the table when enemy officers enter. He overhears them discussing their plan to launch a surprise attack; Johnnie learns that securing the Rock River Bridge is essential for their supply trains. He then sees Annabelle brought in; she is taken to a room under guard while they decide what to do with her. After the meeting ends, Johnnie manages to knock out one of the guards and free Annabelle. They escape into the woods.
The next day, Johnnie and Annabelle creep out of the woods and find themselves near a railway station, where Union soldiers, guns, trains and equipment are being organized for the attack. Seeing the General in the midst of it all, Johnnie devises a plan to warn the South. After sneaking Annabelle, hidden inside a sack, onto a boxcar behind the General, Johnnie steals his engine back. Two other trains, including the Texas, set out after the pair, while the Northern attack is immediately set in motion. In a reversal of the first chase, Johnnie has to fend off his pursuers. Finally, he starts a fire behind the General in the center of the Rock River Bridge.
Reaching friendly lines, Johnnie informs the local army commander of the impending attack. Confederate forces rush to defend the bridge. Meanwhile, Annabelle is reunited with her convalescing father. The Texas is driven onto the burning bridge, but it collapses, in what would later come to be recognised as the most expensive stunt of the silent era. Union soldiers try to ford the river, but Confederate artillery and infantrymen open fire on them, eventually driving them back in disarray.
As a reward for his bravery, Johnnie is enlisted in the army as a lieutenant. In the final scene, Johnnie tries to kiss his girlfriend, but is obliged to return the salutes of passing soldiers. Johnnie finally uses one hand to embrace his girlfriend while using his other to blindly salute the men as they walk by.
THE REVIEW: While no one tops L&H or the Three Stooges in the comedy department, Buster Keaton is a fun guy to watch. He does do a lot of funny things, like incorrectly hitching together the locomotives. All in all, I give this film a 3 out of 5. Quite a bit of funny moments.
Cast: Buster Keaton, Marion Mack
Welcome to another Silent Sunday at The Psycho Ward! This week, I'll be reviewing Buster Keaton's 1927 comedy The General.
As far as classic comedy goes, not only am I a huge Laurel & Hardy fan, I'm also a fairly big Buster Keaton fan. He was one of the best silent comedians.
I love how silent comedians would have a certain character they would play. Charlie Chaplin would always play the tramp, Harold Lloyd would always play the nerdy, unlucky guy with glasses, and Buster Keaton would pretty much play the same guy, except without glasses.
THE PLOT (I'm just going to start copying plots from Wikipedia because it's easier):
In 1861, Western & Atlantic Railroad train engineer Johnnie Gray (Buster Keaton) is in Marietta, Georgia to see one of the two loves of his life, his fiancee Annabelle Lee (Marion Mack) (the other being his locomotive, the "General"), when the American Civil War breaks out. He hurries to be first in line to sign up with the Confederate Army, but is rejected (without explanation) because he is too valuable to the Confederacy in his present job. On leaving, he comes across Annabelle's father and brother, who beckon to him to join them in line, but he sadly walks away, giving them the impression that he does not want to enlist. Annabelle coldly informs Johnnie that she will not speak to him again until he is in uniform.
A year passes, and Annabelle receives word that her father has been wounded. She travels north on the General to see him, but still wants nothing to do with Johnnie. When the train makes a stop, the passengers detrain for a quick meal. As planned, Union spies led by Captain Anderson (Glen Cavender) use the opportunity to steal the train. Annabelle becomes an inadvertent prisoner. Johnnie gives chase, first on foot, then by handcar and boneshaker bicycle, before reaching a station in Chattanooga. He alerts the army detachment there, which boards another train to give chase, with Johnnie manning the locomotive, the "Texas". However, the flatcars are not hooked up to the engine, and the troops are left behind. By the time Johnnie realizes he is alone, it is too late to turn back.
The Union agents try a variety of methods to shake their dogged pursuer (convinced he is accompanied by Confederate soldiers), including disconnecting their trailing car and dropping railroad ties on the tracks. As the unusual duel continues northward, the Confederate Army of Tennessee is ordered to retreat and the Northern army advances in its wake. Johnnie finally notices he is surrounded by Union soldiers and the hijackers see that Johnnie is by himself. Johnnie stops his locomotive and runs into the forest to hide.
At nightfall, Johnnie stumbles upon the Northern army encampment. Hungry, he climbs through a window to steal some food, but has to hide underneath the table when enemy officers enter. He overhears them discussing their plan to launch a surprise attack; Johnnie learns that securing the Rock River Bridge is essential for their supply trains. He then sees Annabelle brought in; she is taken to a room under guard while they decide what to do with her. After the meeting ends, Johnnie manages to knock out one of the guards and free Annabelle. They escape into the woods.
The next day, Johnnie and Annabelle creep out of the woods and find themselves near a railway station, where Union soldiers, guns, trains and equipment are being organized for the attack. Seeing the General in the midst of it all, Johnnie devises a plan to warn the South. After sneaking Annabelle, hidden inside a sack, onto a boxcar behind the General, Johnnie steals his engine back. Two other trains, including the Texas, set out after the pair, while the Northern attack is immediately set in motion. In a reversal of the first chase, Johnnie has to fend off his pursuers. Finally, he starts a fire behind the General in the center of the Rock River Bridge.
Reaching friendly lines, Johnnie informs the local army commander of the impending attack. Confederate forces rush to defend the bridge. Meanwhile, Annabelle is reunited with her convalescing father. The Texas is driven onto the burning bridge, but it collapses, in what would later come to be recognised as the most expensive stunt of the silent era. Union soldiers try to ford the river, but Confederate artillery and infantrymen open fire on them, eventually driving them back in disarray.
As a reward for his bravery, Johnnie is enlisted in the army as a lieutenant. In the final scene, Johnnie tries to kiss his girlfriend, but is obliged to return the salutes of passing soldiers. Johnnie finally uses one hand to embrace his girlfriend while using his other to blindly salute the men as they walk by.
THE REVIEW: While no one tops L&H or the Three Stooges in the comedy department, Buster Keaton is a fun guy to watch. He does do a lot of funny things, like incorrectly hitching together the locomotives. All in all, I give this film a 3 out of 5. Quite a bit of funny moments.
The Music Box (1932)
Director: James Parrott
Cast: Stan Laurel, Oliver Hardy, Billy Gilbert, Charlie Hall
Yay! My first Laurel & Hardy review! I decided to review this film now since it is on TCM later tonight and I've already seen it a thousand times anyways.
As most of you know, I'm a huge Laurel & Hardy fan. I am also a member of the Saps At Sea, the San Diego chapter of the Sons of the Desert, the international organization dedicated to preserving Laurel & Hardy's greatness.
This is how I first heard about Laurel & Hardy. Or at least, I think it's how I heard about them. I remember hearing The Music Box when I was a kid and somehow connected it with Laurel & Hardy. Deja vu, perhaps? Anyways...
THE PLOT: In this fun short, Stan and Ollie are delivery men ("Tall Oaks From Little Acorns Grow") delivering a piano to Mrs. von Schwarzenhoffen, who has ordered it a surprise for her husband Theodore (Billy Gilbert). Once they get to the place, they realize they have to climb up a bunch of steps. Stan and Ollie, always up for a challenge, try moving the piano up the steps unsuccessfully many hilarious times. They go down the steps only to be laughed at by an incredibly bitchy woman who Stan justifiably and rightfully kicks in the ass. She responds by socking him in the face and smashes Ollie in the head with a vase because he's started to laugh. What a bitch.
Anyways, later on, a policeman tells the Boys to come down, and Stan goes down only to the landing and yells "What do you want?" which makes Ollie yell at him more. Ollie finally comes down and faces the policeman's wrath (Stan's classic "Don't you think you're bounding over your steps?"). Afterwards, the Boys try again and are confronted by Theodore Schwarzenhoffen (A.D., L.D., F.L.D., F.F.F.F., among others) who politely waits for them to move, and when they don't, he becomes furious.
They reach the top of the stairs and Charlie Hall, ever the pessimist, informs them that they could've taken the road around ("Now why didn't we think of that before?")
Once they get into the house finally, the Boys do another one of their classic dance routines and deliver the piano (and also get chased out of the house by Billy Gilbert).
THE REVIEW: The Music Box steps are still in Hollywood somewhere, and I intend to visit them someday.
This film is the reason why I love L&H so much. The plot seems so simple, like an NES game, almost. But Stan & Ollie were so genius that they turned it into a full-blown comedy. This short is great fun and gets a 5 out of 5.
Full short
Cast: Stan Laurel, Oliver Hardy, Billy Gilbert, Charlie Hall
Yay! My first Laurel & Hardy review! I decided to review this film now since it is on TCM later tonight and I've already seen it a thousand times anyways.
As most of you know, I'm a huge Laurel & Hardy fan. I am also a member of the Saps At Sea, the San Diego chapter of the Sons of the Desert, the international organization dedicated to preserving Laurel & Hardy's greatness.
This is how I first heard about Laurel & Hardy. Or at least, I think it's how I heard about them. I remember hearing The Music Box when I was a kid and somehow connected it with Laurel & Hardy. Deja vu, perhaps? Anyways...
THE PLOT: In this fun short, Stan and Ollie are delivery men ("Tall Oaks From Little Acorns Grow") delivering a piano to Mrs. von Schwarzenhoffen, who has ordered it a surprise for her husband Theodore (Billy Gilbert). Once they get to the place, they realize they have to climb up a bunch of steps. Stan and Ollie, always up for a challenge, try moving the piano up the steps unsuccessfully many hilarious times. They go down the steps only to be laughed at by an incredibly bitchy woman who Stan justifiably and rightfully kicks in the ass. She responds by socking him in the face and smashes Ollie in the head with a vase because he's started to laugh. What a bitch.
Anyways, later on, a policeman tells the Boys to come down, and Stan goes down only to the landing and yells "What do you want?" which makes Ollie yell at him more. Ollie finally comes down and faces the policeman's wrath (Stan's classic "Don't you think you're bounding over your steps?"). Afterwards, the Boys try again and are confronted by Theodore Schwarzenhoffen (A.D., L.D., F.L.D., F.F.F.F., among others) who politely waits for them to move, and when they don't, he becomes furious.
They reach the top of the stairs and Charlie Hall, ever the pessimist, informs them that they could've taken the road around ("Now why didn't we think of that before?")
Once they get into the house finally, the Boys do another one of their classic dance routines and deliver the piano (and also get chased out of the house by Billy Gilbert).
THE REVIEW: The Music Box steps are still in Hollywood somewhere, and I intend to visit them someday.
This film is the reason why I love L&H so much. The plot seems so simple, like an NES game, almost. But Stan & Ollie were so genius that they turned it into a full-blown comedy. This short is great fun and gets a 5 out of 5.
Full short
Chinatown (1974)
Director: Roman Polanski
Cast: Jack Nicholson, Faye Dunaway, John Hillerman, Perry Lopez, Burt Young, John Huston
(Warning: prepare for major Jackgasms throughout this review).
Yes, I'm reviewing a Roman Polanski film. Kiss my ass, the guy's good.
I've been wanting to see this movie for so long and I finally got to see it last night when my mom rented it from Blockbuster. Jack looks so different from the way he did in One Flew Over the Cuckoo's Nest! And he's hotter too. *sigh* Jack, you are so sexy...*drool*
.......................................................................................................................................................
Um, hi, guys! Sorry about that.
Ahem...now on to the film.
The film centers around private eye J.J. "Jake" Gittes (Jack Nicholson). He is hired by a woman who claims that her husband, Hollis Mulwray, has been cheating on her. Gittes begins to follow Mulwray but does not encounter him with any mistresses. Then one day, Gittes catches Mulwray with his young female friend and snaps some pics.
The story takes an interesting twist here. Gittes is confronted by the real Evelyn Mulwray (Faye Dunaway), who sues him. Gittes realizes that he has been set up by a woman pretending to be Mrs. Mulwray, and to earn his reputation back, he must investigate who hired him and why. Gittes tells Evelyn that he did not know that he was involved in her personal life and she agrees to drop the charges.
Gittes goes to the Oak Pass reservoir to look for Hollis but instead encounters police Lt. Lou Escobar (Perry Lopez), a former friend, who is recovering a body--Hollis Mulwray's.
After more investigation, Gittes ends up at the Department of Water and Power (after getting his nose busted by some goons) and learns that Noah Cross (John Huston) is Evelyn's father, and that he and Hollis were business partners.
Gittes visits Noah Cross, who hires him to find Katherine, Hollis Mulwray's mistress. Gittes visits an orange grove in the San Fernando Valley and gets beat up by some landowners (how do you like THAT, Cesar Chavez?) that claim that the water department is demolishing their water tanks and poisoning their wells.
Reading the obituary on the way back with Evelyn, who comes to rescue him, Gittes realizes that one of the senior citizens at the Mar Vista Inn died two weeks ago but somehow bought property a week ago. He also realizes that the purpose of this whole thing is to irrigate the rural valley, not to lessen the burden on taxpayers.
So Gittes and Evelyn end up doing it in what would probably be the lamest sex scene ever had it not been for Jack Nicholson. Evelyn gets a phone call and tells Gittes to stay at her place and wait and to trust her, and does our intrepid hero do that? Of course not.
Gittes trails Evelyn and sees her comforting Katherine. Returning home, bushwacked, Gittes gets a call from Escobar from Ida Sessions' house. Gittes reluctantly goes over there and finds that Sessions has been brutally murdered.
Returning to Evelyn's mansion, Gittes finds a man's eyeglasses in the pond and confronts Evelyn about them. She then confesses that Katherine is her sister and her daughter, admitting to incest with Noah when she was 15. Gittes arranges for the two to escape to Mexico with his friend Curly (Burt Young, not Jerry Howard. I know, it was a big disappointment to me too).
In Chinatown, Gittes is arrested for extortion because Escobar thinks that he and Evelyn killed Hollis. Evelyn escapes with Katherine and the police open fire and Evelyn dies. The End. Forget it, Jake. It's Chinatown.
THE REVIEW: As you can probably tell, this is a very complicated and intricate plot. I found it extremely hard to follow. And something that's funny is that the film has almost nothing to do with Chinatown, except for a few side mentions and the final scenes. Jack Nicholson is really good, especially when he's forced to slap Evelyn around a bit. I loved it because we almost never get to see Jack get physical (I mean, let's be honest - as much I love him, he's not exactly James Bond material), but here he gets to beat people up! It's so cool!
All in all, I give this film 3.5 stars. Jack gave it the big boost it needed, and it was a fun little film noir adventure. The only minus is a hard-to-follow (but still very well done!) plot line.
Trailer
Cast: Jack Nicholson, Faye Dunaway, John Hillerman, Perry Lopez, Burt Young, John Huston
(Warning: prepare for major Jackgasms throughout this review).
Yes, I'm reviewing a Roman Polanski film. Kiss my ass, the guy's good.
I've been wanting to see this movie for so long and I finally got to see it last night when my mom rented it from Blockbuster. Jack looks so different from the way he did in One Flew Over the Cuckoo's Nest! And he's hotter too. *sigh* Jack, you are so sexy...*drool*
.......................................................................................................................................................
Um, hi, guys! Sorry about that.
Ahem...now on to the film.
The film centers around private eye J.J. "Jake" Gittes (Jack Nicholson). He is hired by a woman who claims that her husband, Hollis Mulwray, has been cheating on her. Gittes begins to follow Mulwray but does not encounter him with any mistresses. Then one day, Gittes catches Mulwray with his young female friend and snaps some pics.
The story takes an interesting twist here. Gittes is confronted by the real Evelyn Mulwray (Faye Dunaway), who sues him. Gittes realizes that he has been set up by a woman pretending to be Mrs. Mulwray, and to earn his reputation back, he must investigate who hired him and why. Gittes tells Evelyn that he did not know that he was involved in her personal life and she agrees to drop the charges.
Gittes goes to the Oak Pass reservoir to look for Hollis but instead encounters police Lt. Lou Escobar (Perry Lopez), a former friend, who is recovering a body--Hollis Mulwray's.
After more investigation, Gittes ends up at the Department of Water and Power (after getting his nose busted by some goons) and learns that Noah Cross (John Huston) is Evelyn's father, and that he and Hollis were business partners.
Gittes visits Noah Cross, who hires him to find Katherine, Hollis Mulwray's mistress. Gittes visits an orange grove in the San Fernando Valley and gets beat up by some landowners (how do you like THAT, Cesar Chavez?) that claim that the water department is demolishing their water tanks and poisoning their wells.
Reading the obituary on the way back with Evelyn, who comes to rescue him, Gittes realizes that one of the senior citizens at the Mar Vista Inn died two weeks ago but somehow bought property a week ago. He also realizes that the purpose of this whole thing is to irrigate the rural valley, not to lessen the burden on taxpayers.
So Gittes and Evelyn end up doing it in what would probably be the lamest sex scene ever had it not been for Jack Nicholson. Evelyn gets a phone call and tells Gittes to stay at her place and wait and to trust her, and does our intrepid hero do that? Of course not.
Gittes trails Evelyn and sees her comforting Katherine. Returning home, bushwacked, Gittes gets a call from Escobar from Ida Sessions' house. Gittes reluctantly goes over there and finds that Sessions has been brutally murdered.
Returning to Evelyn's mansion, Gittes finds a man's eyeglasses in the pond and confronts Evelyn about them. She then confesses that Katherine is her sister and her daughter, admitting to incest with Noah when she was 15. Gittes arranges for the two to escape to Mexico with his friend Curly (Burt Young, not Jerry Howard. I know, it was a big disappointment to me too).
In Chinatown, Gittes is arrested for extortion because Escobar thinks that he and Evelyn killed Hollis. Evelyn escapes with Katherine and the police open fire and Evelyn dies. The End. Forget it, Jake. It's Chinatown.
THE REVIEW: As you can probably tell, this is a very complicated and intricate plot. I found it extremely hard to follow. And something that's funny is that the film has almost nothing to do with Chinatown, except for a few side mentions and the final scenes. Jack Nicholson is really good, especially when he's forced to slap Evelyn around a bit. I loved it because we almost never get to see Jack get physical (I mean, let's be honest - as much I love him, he's not exactly James Bond material), but here he gets to beat people up! It's so cool!
All in all, I give this film 3.5 stars. Jack gave it the big boost it needed, and it was a fun little film noir adventure. The only minus is a hard-to-follow (but still very well done!) plot line.
Trailer
Monday, June 6, 2011
The Doorway to Hell (1930)
Director: Archie Mayo
Cast: Lew Ayres, James Cagney, Dwight Frye, Dorothy Matthews, Leon Janney, Robert Elliot, Jerry Mandy, Noel Madison, Tom Wilson
Reviewing another Dwight Frye movie today! Sorry, I couldn't help myself. The man is just SO sexy...excuse me for a minute.
.........................................
Ok, I'm back! Sorry, I had a minor (?) Dwightgasm there. On to the movie!
I love classic gangster movies. There's just something about them that is so cool and makes you want to lead that type of life (not that I ever would, of course). In fact, Jimmy Cagney, known as the silver screen's quintessential "tough guy," who stars in this film as Lew Ayres' right-hand man, went on to star in Public Enemy (1931), the film that made him a star and the archetypal gangster (on screen, of course. The archetypal gangster in real life is Al Capone).
Well, the film circles around Louie Ricarno (Lew Ayres, who is also quite attractive), a gangster and his right-hand man, Steve Mileaway (Jimmy Cagney). Louie decides to give up the life of crime but first organizes the Chicago gangs so that they won't kill each other during his absence. He retires to Florida, marries his moll, Doris (Dorothy Matthews), and plays golf. However, he must return to Chicago when his younger brother Jackie (Leon Janney) is killed by gangsters. The gang war worsens and he is forced to return again.
Dwight Frye's Monk doesn't steal the show like his Renfield does (but he does put Tony Shalhoub to shame. Get it? Monk? hahaha. No really, he does), but I love the opening scene. Monk is playing pool with some gangster buddies when a guy comes up and whispers something to him. Monk comes with the boys and fires the shots that kill Whitey Eckhart (John Kelly). Damn, it feels good to be a gangsta, especially if you're Dwight Frye. Damn, he looks HOT in this movie!
...................................................
Sorry, another minor Dwightgasm there.
Another thing that impresses me is the remarkable acting by then 22-year-old Lew Ayres. I mean, I thought Jimmy Cagney and Dwight Frye were impressive for 31, but boy, can this kid ACT. I mean, he was just terrific.
Just for his, Cagney's and Frye's performance, this film gets a 5 out of 5. Quite a fun little romp through Gangland Chicago, and it had the two best things in a movie: gangsters and Dwight Frye.
Trailer
Note: the trailer contains extra dialogue for Dwight Frye that was not contained in the film.
Cast: Lew Ayres, James Cagney, Dwight Frye, Dorothy Matthews, Leon Janney, Robert Elliot, Jerry Mandy, Noel Madison, Tom Wilson
Reviewing another Dwight Frye movie today! Sorry, I couldn't help myself. The man is just SO sexy...excuse me for a minute.
.........................................
Ok, I'm back! Sorry, I had a minor (?) Dwightgasm there. On to the movie!
I love classic gangster movies. There's just something about them that is so cool and makes you want to lead that type of life (not that I ever would, of course). In fact, Jimmy Cagney, known as the silver screen's quintessential "tough guy," who stars in this film as Lew Ayres' right-hand man, went on to star in Public Enemy (1931), the film that made him a star and the archetypal gangster (on screen, of course. The archetypal gangster in real life is Al Capone).
Well, the film circles around Louie Ricarno (Lew Ayres, who is also quite attractive), a gangster and his right-hand man, Steve Mileaway (Jimmy Cagney). Louie decides to give up the life of crime but first organizes the Chicago gangs so that they won't kill each other during his absence. He retires to Florida, marries his moll, Doris (Dorothy Matthews), and plays golf. However, he must return to Chicago when his younger brother Jackie (Leon Janney) is killed by gangsters. The gang war worsens and he is forced to return again.
Dwight Frye's Monk doesn't steal the show like his Renfield does (but he does put Tony Shalhoub to shame. Get it? Monk? hahaha. No really, he does), but I love the opening scene. Monk is playing pool with some gangster buddies when a guy comes up and whispers something to him. Monk comes with the boys and fires the shots that kill Whitey Eckhart (John Kelly). Damn, it feels good to be a gangsta, especially if you're Dwight Frye. Damn, he looks HOT in this movie!
...................................................
Sorry, another minor Dwightgasm there.
Another thing that impresses me is the remarkable acting by then 22-year-old Lew Ayres. I mean, I thought Jimmy Cagney and Dwight Frye were impressive for 31, but boy, can this kid ACT. I mean, he was just terrific.
Just for his, Cagney's and Frye's performance, this film gets a 5 out of 5. Quite a fun little romp through Gangland Chicago, and it had the two best things in a movie: gangsters and Dwight Frye.
Trailer
Note: the trailer contains extra dialogue for Dwight Frye that was not contained in the film.
Häxan: Witchcraft Through the Ages (1922)
Director: Benjamin Christensen
Cast: Benjamin Christensen, Clara Pontoppidan,cOscar Stribolt, Astrid Holm, Maren Pedersen
DISCLAIMER: If your religious beliefs are challenged after reading this review and watching the movie, please know that I waive all responsibility and liability.
Ladies and gentlemen, welcome to the first documentary review here at the Psycho Ward. Apparently in the 20s it was okay to pass horror films off as documentaries.
I thought it would be okay to do a review on this film since I've seen most of it and I do not wish to see any more. Not because it was terrible. No, no, it's very well done (it's Benjamin Christensen, for crying out loud). It's just that it is incredibly horrifying. Worse than Nosferatu. I don't know whether it's because I'm a devout Catholic and it shakes my faith, or whether it's doing what it's supposed to do to me as a classic horror fan.
The film is in Swedish (häxan is Swedish for the witch) with English subtitles. The first 10 minutes or so is a lecture explaining how witches have been depicted throughout history. Even that's scary. After the 10 minutes, the scene cuts to a rather silly shot of a monk and a woman making out. It then shows the woman buying a type of potion from a mysterious hooded figure that will make the monk fall in love with her. After this, it cuts to two young men who plan to cut open a dead body to discover its inner workings. The film goes on to explain the wicked (as in bad. Sorry, fellow New Englanders) techniques the devil uses to tempt mortals (I'm sure Satanists love this movie). The scariest shot in the film is of a priest reading the bible on a pulpit and the devil jumping up and scaring him. Then it proceeds to follow the story of an old wom--ahem, witch--that has given birth to children fathered by the devil and has gone with the devil to his home where he has fulfilled her every wish (we see her waking up covered in gold coins). Christensen does a terrific job of showing how the accused is tortured until she cracks.
The film goes on to depict witchcraft through the Middle Ages (any sane person will not make it past this era) through modern witchcraft up until 1921. The red tint just makes the film even more scary.
Oh! And speaking of tint, I forgot to let you know in the J'accuse review: in silents, yellow or black and white tinting usually means it's daytime, red or pink usually means twilight, and blue or very dark gray means night.
Back to the film, I give it 3.5 out of 5 stars. Very well made and I enjoyed the slide show and it does its job, albeit a little too strongly.
If you think you're brave enough, the film is in parts on YouTube.
Part 1
Part 2
Part 3
Part 4
Part 5
Part 6
Part 7
Part 8
Part 9
Part 10
Part 11
Cast: Benjamin Christensen, Clara Pontoppidan,cOscar Stribolt, Astrid Holm, Maren Pedersen
DISCLAIMER: If your religious beliefs are challenged after reading this review and watching the movie, please know that I waive all responsibility and liability.
Ladies and gentlemen, welcome to the first documentary review here at the Psycho Ward. Apparently in the 20s it was okay to pass horror films off as documentaries.
I thought it would be okay to do a review on this film since I've seen most of it and I do not wish to see any more. Not because it was terrible. No, no, it's very well done (it's Benjamin Christensen, for crying out loud). It's just that it is incredibly horrifying. Worse than Nosferatu. I don't know whether it's because I'm a devout Catholic and it shakes my faith, or whether it's doing what it's supposed to do to me as a classic horror fan.
The film is in Swedish (häxan is Swedish for the witch) with English subtitles. The first 10 minutes or so is a lecture explaining how witches have been depicted throughout history. Even that's scary. After the 10 minutes, the scene cuts to a rather silly shot of a monk and a woman making out. It then shows the woman buying a type of potion from a mysterious hooded figure that will make the monk fall in love with her. After this, it cuts to two young men who plan to cut open a dead body to discover its inner workings. The film goes on to explain the wicked (as in bad. Sorry, fellow New Englanders) techniques the devil uses to tempt mortals (I'm sure Satanists love this movie). The scariest shot in the film is of a priest reading the bible on a pulpit and the devil jumping up and scaring him. Then it proceeds to follow the story of an old wom--ahem, witch--that has given birth to children fathered by the devil and has gone with the devil to his home where he has fulfilled her every wish (we see her waking up covered in gold coins). Christensen does a terrific job of showing how the accused is tortured until she cracks.
The film goes on to depict witchcraft through the Middle Ages (any sane person will not make it past this era) through modern witchcraft up until 1921. The red tint just makes the film even more scary.
Oh! And speaking of tint, I forgot to let you know in the J'accuse review: in silents, yellow or black and white tinting usually means it's daytime, red or pink usually means twilight, and blue or very dark gray means night.
Back to the film, I give it 3.5 out of 5 stars. Very well made and I enjoyed the slide show and it does its job, albeit a little too strongly.
If you think you're brave enough, the film is in parts on YouTube.
Part 1
Part 2
Part 3
Part 4
Part 5
Part 6
Part 7
Part 8
Part 9
Part 10
Part 11
Silent Sunday Edition - J'accuse (1919)
Director: Abel Gance
Cast: Romuald Joubé, Séverin-Mars, Maryse Dauvray, Maxime Desjardins, Angèle Guys, Mancini, Angèle Decori
I thought it would be a fun idea and beneficial to youth culture to follow in TCM's footsteps and have a Silent Sunday Edition, in which I review the silent film that TCM (Turner Classic Movies) is playing. So with that said, welcome to the very first Silent Sunday at the Psycho Ward!
Where to begin with silent films...well, first of all, it still boggles me that the movies were filmed talking, yet they somehow could not transfer that to the screen. Then again, I guess that's what makes silent movies so interesting to me.
The only negative about silents is the music. Usually a silent will be accompanied by an organ or piano. Organs, of course, are typical of horror silents (Lon Chaney's Phantom of the Opera being the most notable). Oftentimes silents use repetitive scores which sometimes work, as in F.W. Murnau's Nosferatu (1922). I personally find the music in silents absolutely terrifying and chilling, except in Laurel & Hardy's silent shorts, and silent comedies in general, especially in Keaton and Chaplin's films.
Well, on to the film. This week I'm reviewing Abel Gance's 1919 World War I epic J'accuse.
The film is divided into parts, and though I only saw Part 1, I believe I've seen all I need to see. The film was made in 1919, it's a silent, and it's still fucking 3 HOURS LONG, for Christ's sake.
Anyway, the film circles around two men from a French village (the film was originally French, all the more reason for me to review it) who love the same woman. One, Jean Diaz (Romuald Joubé) is a poet, while the other, François Laurin (Séverin-Mars) is an extremely jealous man who is married to Édith (Maryse Dauvray). The year is 1914 and the two enlist in the war serving in the same unit against the Germans. François rightly suspects that Jean is having an affair with the former's wife, so he sends her to live with his parents in Lorraine, where she is captured and raped by the Germans.
In 1918, Jean returns from the front due to ill health to find his mother dying. Édith returns from captivity with a daughter, Angèle (Angèle Guys). When François comes home on leave, Jean and Édith fear his reaction to the illegitimate child and try to conceal her from him, which merely revives his jealous suspicions of Jean, and the two men fight. When the truth is revealed, François and Jean agree to seek their vengeance in battle and both return to the front.
Later on, François dies in the field hospital after a great battle (supposedly a mythical figure aids the soldiers). Jean becomes insane due to what he has experienced. He returns to the village and gathers the inhabitants together to tell them of his vision on the battlefield: from the graves of the dead, soldiers arise and gather in a great cohort that marches through the land, back to their homes. Jean challenges the villagers to say whether they have been worthy of the men's sacrifices, and they watch in horror as their dead family and friends appear on the threshold. The soldiers return to their rest, and Jean goes back to his mother's house. There he finds a book of his own poems which he tears up in disgust, until one of them, his Ode to the Sun, drives him to denounce the sun for its complicity in the crimes of war. As the sunlight fades from the room, Jean dies.
MY REVIEW: Well, that's kind of a Haxan-ish twist at the end there (review coming once I muster enough courage to sit through the entire movie) with some Nosferatu thrown in. One might even say that Jean becomes a type of Renfield character, though this was 12 years before Dwight Frye would steal the show with that classic performance.
One thing that bugs me about silent films is that the women (and oftentimes the men, if you watch Stan Laurel's solo shorts) wear way too much makeup. That doesn't happen in this film. That's good. I wish they had kept it that way through the 20s.
Even if you haven't seen it (and you probably haven't), doesn't the plot seem kind of surreal for a war film? When I think of a war film, I don't think of people going nuts and dreaming up dead soldiers. That's what happens in real life. I think of Saving Private Ryan or, just because this is me, Lon Chaney's war comedy Tell It to the Marines (1926) or All Quiet on the Western Front (1930), the war film that made Lew Ayres a star. I mean, really, what's with the skeletons dancing? Is this a film studying heresy in soldiers (luckily for Abel Gance, Benjamin Christensen would show him how to make an effective film about witchcraft with 1922's Haxan)? I don't think so. Really, I don't consider this a war film. Sure, it has war in it, but a real war film wouldn't have skeletons dancing or the dead rising from the grave. For that, I give it 2.5 stars.
Trailer
Cast: Romuald Joubé, Séverin-Mars, Maryse Dauvray, Maxime Desjardins, Angèle Guys, Mancini, Angèle Decori
I thought it would be a fun idea and beneficial to youth culture to follow in TCM's footsteps and have a Silent Sunday Edition, in which I review the silent film that TCM (Turner Classic Movies) is playing. So with that said, welcome to the very first Silent Sunday at the Psycho Ward!
Where to begin with silent films...well, first of all, it still boggles me that the movies were filmed talking, yet they somehow could not transfer that to the screen. Then again, I guess that's what makes silent movies so interesting to me.
The only negative about silents is the music. Usually a silent will be accompanied by an organ or piano. Organs, of course, are typical of horror silents (Lon Chaney's Phantom of the Opera being the most notable). Oftentimes silents use repetitive scores which sometimes work, as in F.W. Murnau's Nosferatu (1922). I personally find the music in silents absolutely terrifying and chilling, except in Laurel & Hardy's silent shorts, and silent comedies in general, especially in Keaton and Chaplin's films.
Well, on to the film. This week I'm reviewing Abel Gance's 1919 World War I epic J'accuse.
The film is divided into parts, and though I only saw Part 1, I believe I've seen all I need to see. The film was made in 1919, it's a silent, and it's still fucking 3 HOURS LONG, for Christ's sake.
Anyway, the film circles around two men from a French village (the film was originally French, all the more reason for me to review it) who love the same woman. One, Jean Diaz (Romuald Joubé) is a poet, while the other, François Laurin (Séverin-Mars) is an extremely jealous man who is married to Édith (Maryse Dauvray). The year is 1914 and the two enlist in the war serving in the same unit against the Germans. François rightly suspects that Jean is having an affair with the former's wife, so he sends her to live with his parents in Lorraine, where she is captured and raped by the Germans.
In 1918, Jean returns from the front due to ill health to find his mother dying. Édith returns from captivity with a daughter, Angèle (Angèle Guys). When François comes home on leave, Jean and Édith fear his reaction to the illegitimate child and try to conceal her from him, which merely revives his jealous suspicions of Jean, and the two men fight. When the truth is revealed, François and Jean agree to seek their vengeance in battle and both return to the front.
Later on, François dies in the field hospital after a great battle (supposedly a mythical figure aids the soldiers). Jean becomes insane due to what he has experienced. He returns to the village and gathers the inhabitants together to tell them of his vision on the battlefield: from the graves of the dead, soldiers arise and gather in a great cohort that marches through the land, back to their homes. Jean challenges the villagers to say whether they have been worthy of the men's sacrifices, and they watch in horror as their dead family and friends appear on the threshold. The soldiers return to their rest, and Jean goes back to his mother's house. There he finds a book of his own poems which he tears up in disgust, until one of them, his Ode to the Sun, drives him to denounce the sun for its complicity in the crimes of war. As the sunlight fades from the room, Jean dies.
MY REVIEW: Well, that's kind of a Haxan-ish twist at the end there (review coming once I muster enough courage to sit through the entire movie) with some Nosferatu thrown in. One might even say that Jean becomes a type of Renfield character, though this was 12 years before Dwight Frye would steal the show with that classic performance.
One thing that bugs me about silent films is that the women (and oftentimes the men, if you watch Stan Laurel's solo shorts) wear way too much makeup. That doesn't happen in this film. That's good. I wish they had kept it that way through the 20s.
Even if you haven't seen it (and you probably haven't), doesn't the plot seem kind of surreal for a war film? When I think of a war film, I don't think of people going nuts and dreaming up dead soldiers. That's what happens in real life. I think of Saving Private Ryan or, just because this is me, Lon Chaney's war comedy Tell It to the Marines (1926) or All Quiet on the Western Front (1930), the war film that made Lew Ayres a star. I mean, really, what's with the skeletons dancing? Is this a film studying heresy in soldiers (luckily for Abel Gance, Benjamin Christensen would show him how to make an effective film about witchcraft with 1922's Haxan)? I don't think so. Really, I don't consider this a war film. Sure, it has war in it, but a real war film wouldn't have skeletons dancing or the dead rising from the grave. For that, I give it 2.5 stars.
Trailer
Friday, June 3, 2011
Dracula (1931)
Director: Tod Browning
Cast: Bela Lugosi, Dwight Frye, Edward van Sloan, David Manners, Helen Chandler, Herbert Bunston, Frances Dade
(Before I begin, I must post a disclaimer: 12-year-old girls and my 28-year-old sister and 57-year-old mom may find this review offensive.)
All right, now we're talking! (no offense, Jack, but classic horror is pretty super-ooper!)
Dracula is based on the novel by Bram Stoker, written in 1897. We all know what it's about, so I'm not going to waste my time telling you. If you've been living under a rock your whole life, too bad. This is one of the most classic horror stories of all time (funny, because when the novel was first published, many considered it a psychological thriller).
I'll point out the negatives first and save the best thing about this film for last.
The two biggest negatives about this film besides Helen Chandler's (Mina Harker) incredibly annoying voice and David Manners' (Jonathan "John" Harker) incredibly stale acting, is the fact that Browning establishes a type of backstory. In the novel, it's Harker who makes the journey to Dracula's (Bela Lugosi) castle, not Renfield (Dwight Frye in the film). I understand what Browning was trying to do, but the English major in me says, "No, this is not right." I suppose what makes classic horror films so terrific and fun to watch is the inaccuracies. Of course, the accuracies make them even better, as in F.W. Murnau's Nosferatu (1922 - review coming soon).
Another less important negative is that Browning leaves out Quincy and Arthur and the whole love story between Dr. Seward (Herbert Bunston) and Lucy (Frances Dade). There is one scene where Lucy accompanies Seward to the theater with John and Mina, however, nothing happens. It isn't as important because the owner of a insane asylum should not be wasting time with women when you've got a deranged schizo like Renfield around.
Speaking of Renfield, the moment you've all been waiting for...I reveal the best part of the movie!
I believe this part of the film, beginning at 5:16, explains it all perfectly:
http://www.youtube.com/watch?v=QWk8SzooWBo&feature=related
Despite his untimely death in 1943 and the fact that the complete idiots who run Hollywood nowadays seem to have forgotten him, Dwight Frye made a lasting impression on all horror films, not just at Universal, where he did most of his work. He was well known for playing stark-raving mad lunatics, and playing them incredibly well. After his role in James Whale's Frankenstein (1931 - review coming soon), he was sadly typecast for the rest of his career, despite his burning desire to play comedy again, as he did on Broadway. His role as Renfield in Dracula is probably his best performance (probably because everyone else except for Edward van Sloan and Lugosi does a terrible job of acting). His performance is so good that even the first twenty minutes of the film where he is sane look like he's crazy. In fact, his interaction with the villager who warns him and insists he stays made me think a little bit of the type of character that Don Knotts used to play ("W-w-well, that's all superstition!"). And who can forget that blood-curdling laugh of his? It really does sound like a mad scientist's laugh. It's another ingredient in the recipe that makes this film a success. It's haunting. It's chilling. It's Dwight Frye.
It still sends a chill down my spine, even after seeing this movie for the billionth time. However, it doesn't come nearly as close to when we first meet Renfield after he has been bitten. After a few scenes starring the aforementioned incredibly boring people (except Lugosi, of course), the scene cuts to a Cuckoo's Nest-ish shot of some loonies chillin' on the grounds of the sanitarium, when suddenly, we hear a blood-curdling scream. The laugh and the scream are heard throughout the film and add to the stunning character that Dwight Frye brings to the table. He was one of those actors that didn't need a script to make him a success (not to mention the man is fucking delicious).
Frye's Renfield is what makes this film so special, and Lugosi's Dracula does NOT sparkle, and as a proud Twilight hater, I could not ask for anything better. I give it 4 stars out of 5. Brilliant film, but like I said, it is swimming with inaccuracies and it also seems too short. There is little to no music in the film, and Swan Lake, the opening credit music, is not suitable for a horror film, albeit it is close.
The full movie is on YouTube in eight parts, so I will post the parts here:
Part 1
Part 2
Part 3 (the laugh is in this part)
Part 4
Part 5
Part 6
Part 7 (the most classic scene in vampire film history as Van Helsing wards off Dracula with a crucifix)
Part 8 (another scene where Dwight Frye's brilliance is at work)
Twilight fans, congratulations! By reading this review, you've gained +10 Intelligence!
Wednesday, June 1, 2011
One Flew Over the Cuckoo's Nest (1975)
Director: Milos Forman
Cast: Jack Nicholson, Brad Dourif, Danny DeVito, Christopher Lloyd, William Redfield, William Duell, Vincent Schiavelli, Louise Fletcher, Mews Small, Will Sampson, Sydney Lassick
Hey there, it's Liz. Welcome to the Psycho Ward's Classic Film Reviews blog. I'd like to have my first official review of a film be one of my favorite films, naturally.
One Flew Over the Cuckoo's Nest is, of course, based on the 1962 novel by Ken Kesey. I read the novel in my Introduction to Literature class (Professor Potts, if you're reading this, you're the best, man) and absolutely loved it. I'm an English major, so I followed the film critic's/English major's golden rule: read the book before you see the movie.
The novel is told from the point of view of a Native American known as Chief "Broom" Bromden (Will Sampson in the film). The Chief has been placed in the Oregon State Hospital in Salem, Oregon, Kesey's home state (assume all characters are native Oregonians, since Kesey does not specify where they are from in the novel). Although the novel was written in the early 60s, it foreshadows one of the main trends that would arise in the late 60s: drug use to alleviate problems.
Back to the plot: Chief witnesses the arrival of a new patient, Randle Patrick McMurphy (Jack Nicholson), a brash, thirty-five-year-old Irishman who has curly red hair, tattoos, muscles, and lust for women. McMurphy fits in quite well with the other patients, Billy Bibbit (Brad Dourif), a nervous, stuttering, boyish man, Martini (Danny DeVito), who is delusional, Dale Harding (William Redfield), who is gay, Jim Sefelt (William Duell) and Bruce Fredrickson (Vincent Schiavelli), both of whom suffer from epilepsy, Charlie Cheswick (Sydney Lassick), who suffers from childlike temper tantrums, and Max Taber (Christopher Lloyd), who is in the film but not in the novel (in the novel, Chief describes Taber as a patient that was released before McMurphy's arrival at the ward a sane individual due to the "Combine's" processes). Later on, in what I like to call "his later adventures," McMurphy learns that he, Taber, and Chief are the only chronics that are to stay on the ward until further notice from the proper authorities. The rest are free to leave whenever they wish.
Speaking of the proper authorities, McMurphy's ward in the hospital is run by Nurse Mildred Ratched (Louise Fletcher), a completely oppressive woman. She believes strictly in rule and order in the ward and refuses to let up when McMurphy insists that she change the ward policy so that the patients can watch the World Series.
Eventually, McMurphy rallies the other patients to rebel against Nurse Ratched's oppressive dictatorship (iconic line: Sydney Lassick's "May I have my cigarettes please, Nurse Ratched?"). Towards the end of the novel/film, McMurphy throws a party, bringing along his "girlfriend" (deemed appropriately, fuck buddy) Candy (Mews Small) and her friend (aka fellow prostitute) Rose. Billy Bibbit confides in McMurphy that he has a crush on Candy. Of course, McMurphy's idea of a date is different from the rest of the ward's, and so he convinces Billy to sleep with Candy. The morning after, Nurse Ratched arrives, surveys the damage, and questions Billy. When she asks Billy if he is ashamed of what he has done, Billy announces confidently and without stuttering that he is not. However, when she mentions his mother, Billy's stutter returns. McMurphy, on the other hand, becomes so enraged with Nurse Ratched that he chokes her nearly to death. Billy cannot take the stress of his mother finding out that he is no longer a virgin and commits suicide.
In the end, to put a stop to his rebellious ways, Nurse Ratched has McMurphy lobotomized. Chief suffocates the listless McMurphy and lifts the water fountain that McMurphy had tried to lift earlier and escapes.
NOW, ONTO THE FILM...
The Academy Awards the cast and crew won were truly deserved. The film, while in some places inaccurate (hey, I'm an English major, I like accuracy), does a terrific job of showcasing the life of mental hospital patients. I've often said it's like Holes for adults. Why Kesey still feels, even after seeing Jack Nicholson's absolutely terrific performance as McMurphy, that Gene Hackman would have been better suited for the role is beyond me. While I can somewhat (somehow) picture Hackman in the role because of his red hair, Jack Nicholson, while he didn't have the red hair, the tattoos, and the muscles, was pure McMurphy attittude-wise. He couldn't quite manage the stereotypical Western accent that we see in the book, but his outburst after Nurse Ratched overrules the vote to watch the World Series is priceless ("NOW I WANT THAT TELEVISION SET TURNED ON!!!").
I have recently discovered that Brad Dourif was nominated for Best Supporting Actor, but lost to George Burns for his role as Al Lewis in The Sunshine Boys. I must ask: why?!?!? Dourif not only gave us a lovable yet troubled Billy Bibbit, but he also gave us the most interesting and adorable hairstyle since The Beatles' mop tops, which in turn made us love him even more.
Another cool fact I read about in my really cool $39-something Collector's Edition DVD package is that Dean Brooks, who plays Dr. Spivey, was the actual superintendent of the Oregon State Hospital at the time the film was being shot. He wholly supported the film's release. However, he became extremely frustrated with his lines. Despite this, Forman called him and said that he had been cast as Spivey. Brooks would find out later that all of his scenes would be improvised. Watching Brooks' interview with McMurphy in the film (the bulk of his lines come from this scene), it doesn't even seem that way. I can't even improv that well. He makes it look perfect. Terrific improv job. Brooks turned over his entire hospital ward to Forman and the crew, and almost all of the patients would be involved in the project.
THE INACCURACIES:
- The appearance of Taber, as I stated above, though Christopher Lloyd was absolutely terrific, as always.
- Cheswick is supposed to drown himself, and he doesn't.
- Chief is supposed to come on the fishing trip. Instead, he plays more of a Zero-esque character, helping McMurphy escape to hijack the bus.
- Speaking of which, McMurphy DOES NOT hijack a bus.
- The scene with Harding's wife coming to visit is not in the film.
- Candy's friend's name is not Rose in the book, it is Sandra/Sandy.
- McMurphy is supposed to be thirty-five years old. In the film, Dr. Spivey lists his age as thirty-eight, which was Jack Nicholson's age at the time.
- Nurse Ratched's first name is never given in the novel.
A NOTE OF CAUTION: Some who have read the book may find the film a bit hard to follow, as it is told from McMurphy's point of view and not Chief's. I myself had no problem because I was forewarned, so I hope that helps. :)
Some stills from the film:
Jack Nicholson...such a CUUUUTIE!!!! ^_^
Subscribe to:
Posts (Atom)