lrrap Reviews

The Jackie Gleason Show: Stars Over Flatbush (1955) Season 3, Episode 24

Any true fan of The Honeymooners should see this

[10/10 · 29 January 2024]

It;s always puzzling (and frustrating) to talk with Honeymooners fans who can quote practically every line from "The Classic 39" and yet have no interest in the LOST episodes that were (mostly, not all) broadcast during the two years before "the 39".

The assumption seems to be that the "Lost" episodes couldn't POSSIBLY be as good as the 39; WRONG! In fact, Gleason himself felt that the show was already losing some of its brilliance by the time he decided to film the 39 ('55-56) for syndication.

The "Lost episodes are often as good, in some cases better (sacrilege!) than the 39. Most of them are LONG (around 36-38 minutes) , and while there is almost always a certain amount of "padding" to fill out the running time, there are a few of them that MUST be counted among the best things Gleason and company ever did.

"Stars Over Flatbush" is just such a show, almost perfect in its writing, construction, directing, and performing. No point in saying any more about it; I'd rather just go watch it again and enjoy the hell out of one of the (if not THE) greatest comedy shows of all time. LR.

Columbo: Double Shock (1973) Season 2, Episode 8

Jeanette Nolan in a rare funny role

[8/10 · 21 January 2024]

No point in re-telling the plot here, except for the fact that we KNOW Marin Landau kills Paul Stewart in his bathtub, but we soon become aware that we don't know WHICH Martin Landau it was!

I enjoyed the TV-cooking sho scene a lot, but most faun was Jeanette Nolan's scene stealing performance as Mrs. Peck, the loyal housekeeper. Be aware as you watch this show that Ms. Nolan was one of the stage and screen's most accomplished actresses, having been cast by Orson Welles as Lady Macbeth in his film version of Shakespeare's tragedy. You can also catch her in fine form in 1953's classic noir "The Big Heat", as well as in every old hag/witch role in TV's "Thriller" and "Twilight Zone." And she never hammed it up in these roles; she was too "legit" an actress, and as a result was all the more terrifying. Remember the old country woman whose husband and his faithful dog drown while hunting in Twilight Zone's classic "The Hunt". That's Ms. Nolan at her sensitive best. But it's great to see her go ballistic over Columbo's cigar ashes or her TV set lose power during her favorite show. LR.

I Love Melvin (1953)

Witty, colorful and fast-paced

[8/10 · 11 December 2023]

A couple of comments here mention the superiority of the "Melvin" songs over those of "Singin"...and I would agree. In fact, I think "Singin's" famous title song is one of the most musically vapid, dull and uninteresting tunes I've ever heard (but its little introductory vamp is very nice). Then there's "Moses Supposes", with its fabulous staging but next-to-no melody, and "Make 'em Laugh", an outstanding slapstick tour-de-force, with a last-minute tune, obviously (and admittedly) a rip-off of Irving Berlin's "Be a Clown".

The Josef Myrow/Mack Gordon songs of "Melvin" are (from a musician's standpoint) more interesting...not necessarily great tunes,..but clever and appealing (the opening "The Lady Loves", however, is really terrific...a "high-society" type Broadway tune that the Gershwin brothers would have been proud of). Myrow, BTW, wrote the classic "Autumn Nocturne", one of music's most sophisticated, elegant, and alluring songs.

"Melvin" is great fun and thoroughly engaging; you can sense the MGM staff at work throughout, cleverly devising scenes, situations, characters, and dialogue (some of it very funny) to showcase Donald n' Debbie. Yes, the film has shortcomings, but not serious enough to impact the overall quality. Case-in-point: the big O'Connor showcase number (obviously intended to capitalize on his stunning "Make "Em Laugh") could have easily ended with Donald-as-Carmen-Miranda-jumping -out-of-the-cannibal-kettle. The Sherlock Holmes/mechanical horse stuff could have been saved for a future O'Connor extravaganza (though he sure is amazing to watch!) Too much of a good thing.

I'd like to mention two other leads in the film, the quirky Allyn Joslyn (always fascinating to watch) and 9-year old Noreen Corcoran, clearly one of the most natural, talented child actors of the day (and who barely gets mentioned anywhere).

Her solo number "Life Has It's Funny Little Ups-and-Downs", sung to cheer up Donald, is a charming number that nonetheless gets pretty complicated in its "bridge" (middle) sections, both in terms of the phrase lengths AND its harmonic move through different keys. Trust me on this. But this cute kid..largely unknown in the history of film (certainly compared to MGM's less-talented Margaret O-Brien) sings it EFFORTLESSLY and NATURALLY. Her subsequent onscreen delivery (lip-synching to her vocal playback) is FLAWLESS and, once again, totally natural and unaffected, a skill that many older, more seasoned professionals never quite mastered. Everything about her performance is first-rate.

In addition, her number with Donald at the gazebo is, in a way, the quintessential film memento of the innocent, cheerful 1950's that many of us still remember and treasure. All the more reason to give "Melvin" its due as one of MGM's true, undiscovered gems. LR.

Columbo: A Stitch in Crime (1973) Season 2, Episode 6

Yes, the ending IS confusing

[9/10 · 4 December 2023]

Years ago, a number of viewers posted here on IMDB with questions about the very end of this show. I'm actually surprised that most of the other viewers had no problem with the ending, which was definitely flawed and confusing.

Still, the entire episode is fabulous, clever and tightly written, and very well directed...except for the final business.

My wife and I watched the final scenes over-and-over to see what we missed. I'm surprised that every perceptive viewer doesn't mention these 2 points:

a.) Columbo mentions the significance of Nimoy's uncharacteristic physical PUSH in the operating room; clearly the implication is that THAT"S the split-second contact where Nimoy planted the incriminating dissolving suture in Columbo's lab coat pocket---RIGHT?? But---if you run the film back slowly, there's NO WAY that it could have happened. Clearly, the scene should have directed and shot to make the "planting" of the suture plausible.

B.) The assistant surgeon tells Columbo that they watched the entire operation very carefully; since they were assisting Nimoy with his every tiny move, how could Nimoy have POSSIBLY slipped the dissolving suture out of the initial heart valve without anyone noticing, while under such intense scrutiny by several people?

C.)The script makes it absolutely clear that the suture that Nimoy used in the initial operation would DISSOLVE within 2-3 days. So HOW WAS IT POSSIBLE that Columbo pulls it out of his pocket FRESH and INTACT at the end, instead of mostly dissolved and covered with residue from the heart valve, etc??

These points may seem picky, but with a script that's so precise and detail-oriented, the illogical ending is really a glaring flaw. I guess in 1973, prior to home-video, flaws like this would rarely, if ever be discovered by viewers, since there would be no way to review the last 2 scenes.

Too bad, since the episode is SO darn' good. I LOVED the moment when Columbo slammed the decanter on Nimoy's desk; it was exactly what was needed at that point. Too often, I think viewers are "taken in" by the lovable, befuddled Peter Falk without recognizing the laser-like, ruthless intellect that lies beneath the goofy exterior....one of the truly fascinating aspects of this series. LR.

The Young Doctors (1961)

What's "DATED?"

[10/10 · 22 July 2023]

If a film made in 1960 portrays real, up-to-the-moment drama and situations...and you only see cars on the street from 1960 or earlier, does that make the film "Dated?" Similarly, the medical technology and practices in a small-town, UNDER-funded hospital in 1961 (as shown in this film) should be regarded as EXACTLY THAT: a reflection of the real-world at that time.

If the film is honest in its portrayal, it's quality or reputation does not suffer 60 years later due to the passage of time, except in the opinions of younger, snark-prone "critics" who can't seem to appreciate the culture and history from the past as preserved on film.

The Young Doctors is an excellent film in every respect: script, direction, acting, pacing, cinematography, etc. Fredric March again displays his unique brand of confident, natural underplaying and the ability to totally dominate a scene..in a good way. His Dr. Pearson may be cantankerous and authoritarian, but he is also good-humored and willing to learn and change.

The rest of the cast is first-rate, a sure sign of the director's strong, guiding hand. There is a true-to-life, natural feel about all of the performances, with Eddie Albert contributing a couple of intense dramatic scenes. Dick Clark also "holds his own" very well alongside the pros. Solid all around.

OK...when Ina Balin wakes up after her surgery near the end, she's fully made-up and coiffed...which is DATED, I suppose, since that was the rule in film and TV back in the day. Still, she is photographed and lit to look like an alluring goddess, emerging from a deep, mystical trance. It's quite an effective use of the old, "dated" on-screen custom where actresses were concerned.

Also-- in reading the other comments here, I understand the disappointment in discovering the events from the novel that were OMITTED from the screenplay. But:

1.) The death of Alexander infant would have been too much of an emotional blow for audiences of the day; the film may not have even been approved for release (I was squirming and near tears during this intense scene; excellent direction, editing, and a superb performance by Eddie Albert).

2.) At 102 minutes, the film seems perfectly balanced and structured as it is: a "chamber" drama with fascinating characters and situations that resolve themselves beautifully at the end. A full-length novel MUST be pared down for the screen for running time considerations.

3.) Without having been aware of the differences with the novel, I thoroughly enjoyed "The Young Doctors" and was totally engrossed in its artful storytelling.

----------------------------------------------- Note: actor Joe Bova (who plays Dr. Shawcross in the opening autopsy scene.."Right this way, ladies...") had recently created the role of the wimpy Prince Dauntless in Broadway's "Once Upon a Mattress", the 1959 musical that made a star of Carol Burnett.

Just thought you'd like to know. LR.

The Eagle and the Hawk (1933)

Great performances, direction and script, with stunning cinematography

[10/10 · 28 June 2023]

IMO, this is a true classic film that deserves far greater recognition. Is its obscurity due to the fact that Fredric March is such an unappreciated actor, I wonder?

The 68-minute running time seems absolutely sufficient to tell the story, since the script is so solidly constructed. March is superb throughout, an actor of true stature. The pacing and direction are pretty darn' flawless, and the cinematography reaches the level of high art, IMO, with almost every scene framed and lit to perfection. Black and White never looked better; the actors often seem "immersed" in the dark, deep focus, ominous texture.

Did we need the Carole Lombard scene? Well, you certainly can't claim that it slows the film up; March's character needs the R&R, and frankly, so do we, as the doom-laden plot moves along at an almost inexorable speed. What's more, the cinematography of the "champagne in the park' scene, with Miss Lombard's mink stole rimmed in white, the champagne in the glasses, and the sinuous cigarette smoke enveloping the two characters is another stunning example of the visual design of the film.

March's final "binge" speech is masterfully written and delivered, searing in its intensity and pathos, and leads logically to the remainder of the action.

"Trenchant" is the word that comes to mind in summing up this film: the Oxford Dictionary says: "keen, penetrating, incisive"..to which I would add powerful, insightful, subtle, cathartic....maybe even masterpiece. LR.

Naked City: Line of Duty (1958) Season 1, Episode 3

The problem with too much cynicism...

[7/10 · 24 April 2023]

The comments here by "Johnny West" are, IMO, the result of too much cynicism and too little experience with the Old -World ethos and character of the era in which "Naked City"'s first season was produced.

When I watched the performance of Eugenie Leontovich as the grieving mother, I INSTANTLY recognized that sort of Old-World, primal, wailing, gut-wrenching sorrow that we oh-so-sophisticated Americans regard as embarrassing, distasteful, and over-the-top. But that's the way the OLD generation of ethnic European immigrants expressed themselves; sorry if it offends you, JW. I'm old enough to have seen and experienced it, and can honestly say that Madam Leontovich really nails it. Does it make me squirm a bit?...yes. But it's real (just watch and listen to those lengthy TV Care-package-type commercials with real-live suffering Jewish or Ukranian grandmas---THAT'S the reality from which Leontovich.... who probably witnessed more horror and heartbreak in Revolutionary Russia than you can imagine.... drew her characterization and performance).

Other than that, this episode is admittedly cliched, even for its day. But the performance of Diane Ladd in her final scene is excellent and, like Jay Novello's big scene in Naked City's next episode, really provides a central, honest, emotional high-point to an otherwise heavy-handed show (and, BTW, how will the grieving mother now survive living by herself in a New York apartment??). LR.

Naked City: Sidewalk Fisherman (1958) Season 1, Episode 4

Other comments here are far too cynical....

[8/10 · 24 April 2023]

...especially "Johnny West", who wants to burn down everything in sight about this show.

OK..I value the guy's first-hand experience with the low-life of New York, with which the writers and producers of "Naked City" in 1958 were certainly acquainted. But the very fact that the "sidewalk" custom existed is an intriguing plot device from which to spin this episode. I'm sure there were SOME guys forced to make their living this way who were not scum-bags.

It's certainly a melodramatic and manipulative show, with the heart-on-sleeve plight of Jay Novello and the little kid, offset by the cruelty of the juvie thugs who terrorize him. But is it any more manipulative than most of the TV cop shows you see today?

The other reviewer who dribbles on about an element of pedophilia in this episode needs to settle down and examine his own cynical, way-too-"modern", jaded fantasies.

Jay Novello's performance (which occasionally veers towards caricature) is nevertheless typical of this fine actor; he's very good, and his appeal to the orphanage board is sensitive, moving, beautifully paced, and totally honest. (I added an extra rating-star for this scene). And the public bath house setting of the climatic scene provides director Heyes with a uniquely sleazy, depressing backdrop.

Then there's the plot resolution, which is unexpected; either the board was going to reverse its decision or not. Instead, we get a half-way decision that does neither. It's quite bittersweet, and the joy it brings to Jay's character seems to highlight the desperation and emotional sadness that engulfs him. One of those "happy-sad" endings, more real-world than Hollywood. LR.

PS-- the other "reviewer" here who slams actor John McIntyre obviously doesn't recognize or appreciate fine character acting.

The King of Kings (1927)

Hop-Along Cassidy carries Old Man Gower's Cross; how cool is THAT?!

[9/10 · 12 April 2023]

This great film was released NINETY ONE years ago (I'm writing this in April, 2018) during an era which our current society has all but forgotten. This only adds to the mystique of "King of Kings"--which you could almost imagine was somehow filmed in Biblical times, so remote and mystical is its visual quality.

In viewing the Criterion set, I was continually awed by the way in which DeMille evokes the visual style of classic religious art ---it's as if you are witnessing the work of Da Vinci, Raphael, Tintoretto and Gustave Dore come to life on screen. (Rudolf Schildkraut as Caiphas has the uncanny appearance of one of Rembrandt's self-portraits right there on your TV screen!)

Once we are past the incredibly cheesy opening scene with Mary Magdalene and her Nubian zebras--that is, once the film gets into its black and white glory, De Mille composes almost every shot to reflect the majesty and reverence of the the great art work that we associate with the events of Christ's life. The iconic director arranges his actors and extras within each shot--especially during the "Way of the Cross" scenes---with a marvelous sense of DEPTH; all I can do is marvel at the visual texture of each shot, with the crowds of onlookers creating a succession of artfully arranged living tableaux.

The scenes of crucifixion and its aftermath are STUNNING---awe-inspiring and chilling---truly a Dante-ish Inferno of mayhem on film! The shots of HB Warner (having expired) on the cross in near darkness---with wind-blown leaves and lightning flashes---are breathtaking. The 1928 soundtrack including a chorus of voices during these scenes---screaming, wailing, moaning along with the action on the screen (especially during the remarkably effective earthquake scenes), and this is an essential element of viewing the film I think. In fact, it's really too bad that the 1928 orchestral/choral soundtrack only exists for the shortened (112-minute) version, because the sound of this score is so evocative of the era in which the film was made. You can't beat the final two minutes of the film, as Jesus leaves his disciples in the Last Supper room in a radiant glow--to the lovely strains of "Abide With Me", and then appears over a modern skyline to a full orchestra/choral rendering of "Rock of Ages"; that's what religion USED to feel like. The new score for the complete film is serviceable---mostly synthesized, though rarely is it distracting (a few incredibly lame synthesized cymbal crashes make me cringe). Of course, one MUST see the entire, full-length film....in which case the new synthesized score is your only choice.

A word about the cast: check them out on IMDB---you'd be amazed at how many of the actors had impressive credentials throughout the silent era and beyond, and yet whom are totally forgotten to us today. The actors who played the parts of Pontius Pilate and the Roman Centurion, for instance, are very impressive indeed---and their career background is fascinating. (There's something very cool about "Hopalong Cassidy" (Bill Boyd) stepping in to help "Old Man Gower" (HB Warner) carry his cross). Of course, Joseph Schildkraut, looking every bit the matinee idol as Judas, was a very distinguished actor--check his Oscar-winning performance as Dreyfuss in 1937's "Life of Emile Zola" for starters---or his 2 Twilight Zone appearances in 1961/62. However, sad to say, his performance in this film is almost consistently over-the-top, too often resorting to the sort of hysterical caricature that we usually associate with silent films and which, all things considered, DeMille manages to steer clear of in much of this great film (eg: HB Warner's performance, which is marvelously dignified and restrained).

It's a pity that so much of our great film heritage has been lost forever---which is why it's all the more important for Criterion and other companies to continue to preserve it---especially the masterpieces like DeMille's "King of Kings."

PS---Included as bonus material is a substantial amount of behind-the scenes shots made during filming, which apparently DeMille did as a matter of course. What a treasure---practically worth the cost of this set alone! LR.

Johnny Staccato: Solomon (1960) Season 1, Episode 22

Minimalist, black-box theater for your home viewing.

[9/10 · 27 February 2023]

There are some oddities in the plotting of this show, and Elisha Cook is, in some way, an even odder choice to play a high-society lawyer...but the visual/stylistic power of the episode..especially the 2nd half....is superb.. With every additional compelling episode of "Johnny Staccato", it seems a bigger shame that the series lasted only a single season.

In the second half, the use of the SPACE...essentially a black room with a couple of lighting sources to highlight the intensity of the scene... is masterful; the visual counterpoint of the three characters is fascinating to watch, especially the way in which it enhances and drives the dialogue. Staccato's hesitancy/doubt about his role as potential perjuror quickly changes once he begins questioning the woman, and Cassavetes' superb, courtroom-style delivery and command is impressive indeed, ESPECIALLY as highlighted by his nearly-Expressionistic camera movements and low-key, sinister lighting design.

It's like watching an avant-garde, black-box theater production...right there on your own 1960 TV screen. Worth multiple viewings. LR.

Johnny Staccato: An Act of Terror (1960) Season 1, Episode 23

Excellently crafted, imaginative "horror-noir"

[9/10 · 27 February 2023]

I have no idea what episode the other reviewer here ("lor_") was watching, because I found this one to be totally engrossing: well-scripted, acted and directed....quite an achievement considering the weekly grind of turning out compelling, "mini-noir" dramas.

As in the best of this series, there's a dark, claustrophobic atmosphere that seems to close in on the main characters; case-in-point: the opening teaser is imaginatively staged and photographed, as we see Thad come out of his nightmare, his wife's voice (off-camera) attempting to calm him. But we gradually get the sense that something truly creepy is going on...which is. A superbly executed scene, and a novel twist on the over-used dummy-as-alter-ego plot device.

I have nothing but praised for Maurice McAndree's performance, which is as taut and intense as that of Cassavettes; they were an excellent team.

In the end, it's pointless to compare this show harshly with better known, bigger budgeted productions. When I first read the synopsis, I thought "Well, here's another take on the talking dummy thing.." but came away extremely impressed by this imaginative, fast-paced and carefully wrought slice-of-noir. LR.

Gunsmoke: The Other Half (1964) Season 9, Episode 35

Ken Curtis Sings

[6/10 · 3 December 2022]

I always appreciate an opportunity to hear Ken Curtis sing, using his "real" voice. Ken was one of the great popular male singers of the past 100 years. Don't take my word: check out his big-band, Western, and radio credits yer'self.

In this episode, Mr. Curtis sings a verse (unaccompanied) of "Shall We Gather at the River" during the funeral scene early on. Other than that and the welcome presence of actor Patrick Knowles, there's not much to recommend here. It's an OK 50 minutes.

I was glad that one of the "Twin" brothers got blown away very early in the show, since viewers were spared what would probably have been a whole mess of scenes with doubles, and maybe even split-screen effects to create the illusion of TWO Lee Kinsolvings (I'll resist the temptation to quip "ONE is quite enough").

The brief shot of Jess (or was it Jay?) in the background early on is SO unconvincing; the body-double is built NOTHING like Lee K. So thank goodness there was no more of that to sit through.

Kinsolving was one of those "angry young mean" who came out of the Actors Studio in the 50's, and I never quite understood his appeal, since everything I've seen him in has featured a rather bland, unremarkable performance. His early career onstage must have been another matter, since he won awards and high critical praise.

Oh, well. LR.

Gunsmoke: Homecoming (1964) Season 9, Episode 34

Far-fetched but Entertaining

[7/10 · 28 November 2022]

This one really stretches our sense of credibility as it unwinds.

The major plot itself involves FOUR major characters, all locked in a complicated legal, personal struggle: Orval (Harold S.), Hector, (Jack E.), Edna (Phyllis C.) and the son (Tom Lowell). That's quite enough as a basis for a 50-minute TV western/soap-opera. BUT..midway through comes shady businessman Frisbie, whom we know from the get-go is "on the make" for the first good-lookin' babe he spots in Dodge. So the plot, and the "trajectory" of the whole drama...the main characters and their actions... gets somewhat sidetracked, as we wonder "what's up with this hot-and-heavy romance with Edna?" Is she about to abandon her claims on her hubby (Elam), the farm, and the business? It's pretty distracting.

As it turns out, this plot CONTRIVANCE is conveniently called in during the final scene, where the frisky Frisbie's motives are exposed, right in the middle of the street, for all the main characters to see and hear. The resolution is a welcome one, though, with "mortal enemies" Stone and Elam kicking back, so to speak, and spontaneously planning a new partnership together..also somewhat too conveniently. But, in the end, it seems to be all in good fun.

I enjoyed the relationship between Elam and Stone; they made a good pair in their scenes together which, thanks to the machinations of Edna, almost came to a tragic end. But Harold's unwillingness to resort to violence, and Jack's general goofiness, prevented disaster. The script missed an opportunity to make a bigger deal of Harold's reluctance to use a gun because of his previous crime, which sent him to jail for 7 years.

Pretty silly at times, but worth a watch. Then there's the musical cue at the very end, as Edna, walks away, which is pretty garish and over-the-top, as if we've just witnessed a tale of great personal tragedy. Frankly, I couldn't care less about what happens to Edna; just glad the two guys walked off unharmed. LR.

The Andy Griffith Show: Ellie Saves a Female (1961) Season 1, Episode 27

Contains one truly priceless moment...

[7/10 · 15 November 2022]

Some commentators here (predictably) cite the harsh, "medieval" treatment by RG Armstoring of his daughter but, as he explains in his own honest, even eloquent way, his principal responsibility in life is to maintain his farm. His daughter Frankie is, presumably, his only child (the mother is never mentioned) and apparently the only means to cope with the grueling, day-to-day work that allows his farm to survive.

Forced labor? No, this was the traditional role that members of farming families were expected to fill; if the farmer had no sons, then the daughters did it. So deal with it, all ye overly-sensitive, "progressive" viewers; such was life in small-town, agrarian America of the day.

Having said that, there IS something awkward and even a bit crude about this script, which fortunately the cast and director treat with great sincerity in the crucial scenes.

The one moment that really stands out for me is the "revelation" (seen above in the IMDB thumbnail), where Ellie presents the "transformed" Frankie to Andy and Barney; the look on their faces...a bit awestruck..as they move toward the camera (with a lovely harp/vibraphone musical cue on the soundtrack) is touching and heartfelt; all comic silliness is forgotten for this one, magical moment.

The ending is a tad heavy-handed and, again, 21st-century PC viewers will groan, I'm sure. The Andy Griffith show was still searching for it's groove in this first season, but this episode provided a good example of the series at its gentle, sensitive best...if only for that one, special moment. LR.

The Andy Griffith Show: A Plaque for Mayberry (1961) Season 1, Episode 25

Hal Smith is excellent in a few rare, sensitive scenes

[10/10 · 13 November 2022]

Yeah, the sobriety test scene is funny, another example of two really fine, comic actors doing their thing. But the clowning stuff is by NO MEANS the highlight of this excellent episode...not for me, anyway.

What stands out is the total sincerity and sensitivity of Hal Smith's portrayal of the "real" Otis; with good material and direction, Smith was a fine actor. Too bad the series rarely gave him a chance to show off his "legit" acting chops.

The scenes between Hal and Dorothy Neumann (Mrs. Campbell) are very touching, as is Hal's brief speech near the end (I wish it were longer).

If you want comedy, there's plenty of it with Dick Elliot's wheez-bag, blustery, teddy-bear performance as Mayor Pike; the scene just outside his office door (when he learns that Otis is about to show up for the ceremony), with his frustration boiling over at Andy and Barney...brief as it is.... is an example of light comedy at its finest, written, timed, and delivered to perfection; three true pros doing their best work, effortlessly.

Alas, many AG fans seem to be more interested in the slapstick-y aspects of these shows, and generally overlook the depth which a bufoonish character like Otis was occasionally allowed to display. LR.

Five Weeks in a Balloon (1962)

Great cast and visual design, lighthearted fun; needed a better ending.

[8/10 · 13 November 2022]

Lighten up, folks. Those viewers intent on lecturing the world over the portrayal of non-white characters in films of the era should just shut the hell up and spend their time elsewhere. It's a late 19th-century period adventure as recreated in 1962. Deal with it.

It has to be Irwin Allen's best film of this period, with his typical "all-star", impressive cast of excellent performers, young and old and, in this case, an inventive, well-structured and enjoyable script, which brings the characters to life in a very appealing way. Allen's direction is generally good to very good, and the frequent balloon-flying sequences, using impressive miniatures, rear-screen, and full size props..sailing, drifting, swooping upward, then descending among mountains, jungles, desert, etc are eye-catching and keep the action moving along nicely. I especially like the frequent establishing or transitional shots of the balloon superimposed with maps, shots of African wildlife, etc...all accompanied by the catchy title tune (based on a very recognizable Italian folk tune), which in its soaring, wistful version is ideally suited to these panoramic shots.

Bottom line: I'm not claiming this is great film-making, but it's often darn' entertaining. There are plentiful action/escape scenes, each one well-designed and staged, as the intrepid band of adventurers press on in a race against time to thwart the plans of the West-African slavers.

AND, I MIGHT POINT OUT...to those elitist purveyors of "wokeness" that decry this film's lack of modernist sensitivity, the serious side of the plot does indeed focus on the fight against the slave trade, a topic of some currency in 1962, as the centennial of the American Civil War was being observed.

Both Cedric Hardwicke (for whom the rigors of his role must have been quite taxing at his age) and the great Herbert Marshall sport some pretty fancy wigs, and the fine actor Richard Haydn is once again required to do his silly-ass, adenoidal British prig portrayal. Red Buttons has great presence and energy in his role, the girls are lovely (sorry, wokies), Billy Gilbert and Henry Daniell are great bonuses in the cast, as is Peter Lorre at his wry, witty and lovable best.

UNFORTUNATELY...for all its strengths, the film almost completely falls apart during the final climatic moments. The destruction of the rope bridge is very well designed and staged, but once the balloon and it occupants hit the river, the pace and direction really lose energy and pace. And WHY didn't we see a closer shot of Peter Lorre during his unexpected moment of heroism, as he dispatches slave-trader chief Mike Mazurki?? It's pretty sensational as it is, but it should have been prepared and highlighted MUCH better; that's basic Film Direction 101 stuff.

The final scene is really bad: flat, lethargic, un-funny and predictable (complete with Chimpanzee hi-jinks), that totally lacks conclusive "punch" that could have given the film the sort of ending that it deserved. LR.

Gunsmoke: Trip West (1964) Season 9, Episode 31

Sweet story, nicely told

[8/10 · 11 November 2022]

Another "little man/loser comes to Dodge to improve his life" plot that provides a substantial role for the main guest star, in this case Herbert Anderson, who does a great job---especially since he resists the temptation to overdo the "sad-sack" quality that's an essential part of his character (director Harris was helpful in this regard, I'm sure).

A touching message in the final scenes, well written, acted, and directed.

I would very much like to end my comments here, because I don't have anything else to say that would warrant the space..but IMDB now REQUIRES that "reviews" must be of a certain length, which I think is odd...especially since, IMO, so much of the space taken up by viewer comments is not especially insightful. Take, for instance, the insistence on commentators to write detailed plot synopses, reciting nearly the entire plot, much like a book report.

For readers who haven't seen the show, a recitation of the plot in detail kinda' defeats the fun of watching it and experiencing the drama for themselves; why sit through the whole thing when you know practically every detail of the plot in advance? On the other hand, for viewers who've already watched the episode, why re-live it in written form here?

Makes no sense.

Again, just my opinion. LR.

Gunsmoke: The Promoter (1964) Season 9, Episode 30

Huge cast, very engaging show

[9/10 · 30 October 2022]

A very well-crafted show, occasionally a bit slow and drab in the 1st act, but solidly constructed and directed thereafter. I especially appreciated the "follow-through" aspect of the scene where Vic Perrin, who decides to try his luck at gambling, first seeks advice and a quick "how to" session with a wily gambler that Matt has just thrown out of Dodge.

Somehow this scene lent the plot a lot of credibility, instead of just jumping into the scene with Vic and his ill-fated attempts at gambling. Similarly, the rest of the show progressed naturally and very effectively, always with a sense of tension, as things became increasingly complicated and even dangerous as the time for the big fight approached.

Lots of great interaction between the main characters, featuring real-life boxer Wilhelm von Homburg and Allen Case as the Lieutenant, who had a successful career as a SINGER, including a couple of Broadway shows (what a surprise to watch this episode and realize that I have the recording of the 1959 musical "Once Upon a Mattress", with Mr. Case playing the romantic lead, sitting on my shelf). He's very good in this episode....quiet, courteous, yet firmly in command. BIG fight scene is the high point of the show, with good ol' Shug Fisher (an excellent Western singer himself) in a featured role and Louie Pheeters pressed into service as Otto's "trainer".

There's a lot to enjoy here, worth more than one viewing. And the ending, thankfully, was a nice one. LR.

Gunsmoke: Bently (1964) Season 9, Episode 28

Includes the strangest "Gun for Hire" killer scene in TV history

[10/10 · 16 October 2022]

That's the oddball, elegant but slightly creepy actor Gene Lyons, with his big ears and droopy eyes, NOT exactly your average gunfighter/killer. His scene in the office with Chester is probably the highlight of this VERY entertaining episode. "Well, if that doesn't beat all", says the guy with the limp after Lyons rides off.

A GREAT send-off for Chester, who somehow managed to insert himself into dangerous situations, rarely get involved in any gun play, yet still come out a winner.

A WONDERFUL script full of unexpected turns, and an excellent, sensitive performance by Jan Clayton (the original Julie Jordan in "Carousel" on Broadway, 1946).

Another top-tier episode from Gunsmoke's real "hey-day"-- the hour-long, B&W episodes ('61-65), before they went to color and things got too crazy, deranged and violent (in order to compete for viewers in the increasingly "mod" late '60's.) LR.

Gunsmoke: Caleb (1964) Season 9, Episode 26

Somewhat predictable, but containing some sobering thoughts

[9/10 · 16 October 2022]

The scene between John Dehner and Ann Loos early on in the show is remarkable, since it rings utterly true. It paints a very realistic portrait of the emotional void between a sad, downtrodden couple of the era...hopeless, depressed, resigned to an essentially useless existence at the young (by today's standards) age of 43. So John Dehner's decision to simply leave his home and take his chances in Dodge is a compelling basis for the plot.

I frankly get a bit tired of so many guest performances by Dehner, a solid and effective actor who, however, often has a slight whiff of theatrical "ham" to his performances; just a little of it creeps into this show.

When "Dog" entered the cabin early in the show, we pretty much knew what kind of ending we were in for and...sure enough...we got it. Still, the interaction of Dehner, Julie, and Lige (and "Dog, dog, dog..) was very well plotted and directed by Mssrs. Savage, and Harris.

A solid show. LR.

Gunsmoke: Owney Tupper Had a Daughter (1964) Season 9, Episode 27

10-star rating for excellent script and JC's performance

[10/10 · 16 October 2022]

Paul Savage's script was (apparently) nominated for a Writer's Guild award, and it certainly deserved it. True, there's a bit too much "cute" in the opening scenes (like "see how poor but happy we are"), but the performance by J. C. and the unusual plot are so strong that I feel this episode merits a full "10" rating.

Jay C Flippen and Andrea Darvi look NOTHING alike...not the slightest bit of physical resemblance (that would be scary), but otherwise they are very well cast. Jay C, who usually plays such slightly off-beat, sometimes sadistic weirdos, is really very appealing in this role.

I don't disagree with a few of the other commentators here, who feel the elements of conflict in this show (the sudden appearance of the Aunt and Uncle and their custody hearing, the rather quick, ruthless double-murder of the young couple, etc), but the OVERALL script is continuously engrossing, well-structured, and the direction nicely paced. In fact, the script veers off in a couple of novel, unexpected directions, which keep it that much more interesting.

We USUALLY get a plot where the nasty aunt/guardian challenges the loving, but lower-class relative for custody of the innocent young child (Heidi, anyone?). Much heartache and tension ensues, while the loving parent must fight the system to be re-united with the child.

Well, this one KIND OF went in that direction...but you'll have to see for yourself how imaginatively the standard plot set-up was handled by writer Savage.

And there's a sad, wistful, philosophical realization in the final scene that is very moving. LR.

PS #1-- I'm not one to look for too much "meaning" through MOTIFS, but it's cool that Amity's DOLL ..used 3 times in the story....reflects the changing relationship of Owney and Amity. 1.) The primitive cloth doll in the opening scene...simple, natural, like their life together 2.) When Owney's prospects are looking up, it's a "store-bought" doll to reflect the ongoing improvement in their status 3.) When Amity arrives off the stagecoach, she's carrying a shiny new, "high-class" city doll, again reflecting the change not only in her status, but her relationship with dad as well.

PS #2--Check out young Andrea Darvi's performance in the great episode of "COMBAT" (1st season): "No Trumpets, No Drums" .. the big starring episode in the series for actor Pierre Jalbert; very touching, almost dream-like in its beauty and heartache. LR.

Gunsmoke: Father's Love (1964) Season 9, Episode 24

Were Men of the Old West really THIS Lecherous??

[8/10 · 2 October 2022]

Boy, these guys..whether or good or bad, can't seem to keep their...shall we say...hands to themselves in this show.

The plot gets somewhat complicated in the final 3rd, and Meston's script is pretty unpleasant, especially the Robert Simon character (Jesse), who is really a jerk. But then, so is Anthony Caruso.

BUT, it's all very well acted and directed, and quite intense throughout. Matt's gradual piecing together of the events is well plotted, and there's a nice resolution/ending to top it all off (PLUS a very convincing shot-gun in the back murder scene, and..of course..a good barroom fight to boot). LR.

Gunsmoke: Comanches Is Soft (1964) Season 9, Episode 23

Have You Ever heard "Little White Cross"?

[8/10 · 5 September 2022]

It's a lovely religious/patriotic song recorded in 1950 by Ken Curtis (during his Sons of the Pioneers days), and...... well, lets just say that if you don't know Ken's legit, lyrical singing, you will be STUNNED; truly one of America's greatest popular singers of all time. (Try it on your friends: "Guess the singer"--- they won't believe it).

I was glad to hear Festus do some singing in this episode, a very charming "framing device", in which he's actually accompanied by Wilbur Hatch's wonderfully witty, bracing score (specially composed for this episode).

This episode is odd....there's TONS of fun dialogue exchanges, comic bits, inventive physical stuff, etc...but they seems to unfold at a SLOW-ish pace that makes the show feel like it's draggy and padded, when in fact it's really not. Scriptwriter Kathleen Hite never really seemed to get back in the groove of a couple of her great scripts from the 7th season, which are classics.

Luckily, there's SO MUCH good stuff between the very charming Ken Curtis and Burt Reynolds, that I'll watch this show again just to see them work together (Reynolds did a later interview in which he reveals just how much he respected and enjoyed Ken as an actor AND a person).

Lots of fun in the saloon, especially the dance/brawl scene; it's good to see big ol' Richard Reeves (and later Don Megowan) display their comic talents; both of them are very good.

There's SO MUCH packed into the plot of this 50-minute show, a real ROAD-TRIP romp for the 2 guys, along with Kathleen Nolan, whose role is cleverly written. When big Don Megowan shows up and our two heroes try to defend her honor, we find ourselves witnessing another wild and crazy episode that ALMOST becomes excessive in its goofiness (and there's also a pillow fight between Festus and Quint, plus the rough encounter with the 2 miscreant brothers, played by Dean Stanton and Rex Holman).

Then there's the final scene in Quint's blacksmith shop; I really didn't expect what happens in these final scenes, and I was left wondering if, in the long run, Hite's script and all of it's silly, 3-Stooges-like horseplay hadn't gone just a little too far. But, what the heck, it's a great change of pace and a wonderful showcase for 2 of TV's all-time greatest characters from TV's all-time greatest western. LR

PS-- If you want to hear Ken Curtis at his "legitimate" best as a singer, try the Have Gun Will Travel season 3 episode "Love's Young Dream", a really over-the-top, crude slapstick job until Ken charms the hell out of us near the end.

Gunsmoke: The Bassops (1964) Season 9, Episode 21

Some observations and questions

[7/10 · 4 September 2022]

I feared watching this episode, since I thought that the Bassops were going to be like so many other rural families in this series....crazed, psycho, drunken hicks (often led by Denver Pyle, it seems) who delight in tormenting the series regulars; such was happily NOT the case here, as the Bassops were a good family that continually wrestled with the moral and humanitarian challenges they faced.

Eunice Pollis, who played the pregnant wife Mellie, was a tad affected in some of her preachy dialogue, but still was effective in providing the "conscience" of the story.

Still, as another person commented, this episode probably would have been a more effective half-hour.

QUESTION--- why in the heck wasn't Matt MUCH more assertive in trying to convince the Bassops that HE was the real marshall? A few half-hearted attempts, and off they go in the WRONG direction, with no water in sight.

They only could travel as fast as the two wounded men could walk, and we're to believe that they WALKED nearly 30 miles in the wrong direction, in the brutal sun, only to discover their mistake and TURN BACK, retrace their path, and THEN walk another 16 miles to Dodge from their original starting point?

I didn't get it.....and that poor, lone HORSE that pulled the Bassop's wagon; how did HE (it?) survive the ordeal? Lots of impractical things here, which could have been dealt with in the show's LONG running time.

Notice the SAFETY WIRE attached to Dillon on his horse during the violent fight with Wilke, as they plummet down the rocky slope.

AND WHY--in the final credits--was actress Eunice Pollis, playing a major role, listed AFTER James Griffith, who was blown away during the first 3 minutes of the show, after speaking TWO LINES? Sounds like Ms. Pollis didn't have a very good agent.

Note to Griffith fans (like me); don't get your hopes up when you see his name in the credits; "SPOILER" Alert:--- he's gone before you barely have a chance to notice him. ALSO-- Warren Oates was really good in this episode; solid and restrained. LR.

Gunsmoke: Liar from Blackhawk (1957) Season 2, Episode 38

A solid, well-crafted half hour

[9/10 · 26 July 2022]

An intriguing show, well-plotted, well acted and VERY well directed. The pace and unfolding of the story are carried along by the swift direction and imaginative staging, the camerawork sometimes moving along with and amidst the characters. The framing of each scene, sometimes with the camera on the move in tight places (eg: Dillon's office) kept my interest and really "pulled me along" with the story.

The omnipresent Denver Pyle's performance was nicely controlled and balanced; he obviously worked very well with JIm Arness, and it shows here (I assume they kept hiring him back, among other reasons, since he had originally been offered the role of Matt Dillon, only to have it yanked from him when Arness was approached).

Good show, especially considering it's lateness in the season. LR.