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Reviews
Gunfight at Black Horse Canyon (1961)
A Rather Listless Western
As a fan of the TV series "Tales of Wells Fargo", I nevertheless knew nothing about the plot or origins of this film in advance. I sensed, while watching, that it may've aired on the series as more than one episode. This was done with several other series in the 60's--"The Virginian", "Flipper", "Daniel Boone", and, I believe, even "Lassie". I was puzzled, though, in that the movie's in color, whereas the series wasn't--unless, perhaps, its later season(s) were made in color, as was "Laramie", "Bonanza", and a little later "The Virginian", all broadcast on NBC, when most shows, on all 3 networks, still were in black-and-white. I don't know enough about the history behind "Fargo" to know how many episodes were filmed in color. I also was puzzled as to Hardie's relationship to his employer Wells Fargo. He didn't seem to be an active agent, working on a current case, as in the series. I've since learned that, apparently, the nature of the series changed in its last or later seasons. Hardie became ranch-based, supposedly semi-retired, taking on Fargo assignments only occasionally. I've never seen the later episodes, so I was unaware of such a change. Aside from seeing Mr. Robertson in color, the film betrays its TV origins with choppy editing and commercial-break-oriented, block-style-driven fadeouts. Generally a low-key western, that, despite some tough-guy violence, seems kind of geared to kids. Probably played originally at drive-ins, likely on a double bill. Doubt it appeared in mainstream downtown theaters, unless on a double or triple bill of kids' fare, maybe along with some cartoons, which theaters used to do on Saturdays or during the summer. Plot uninvolving for an adult, not much to sink one's teeth into. An inordinate amount of time is spent on watching running horses and a black renegade stallion that a young girl's trying to capture to please and impress Hardie, on whom she has a crush. Some of this horse footage, especially the black stallion, looks like footage that later was used for an episode of "The Virginian", possibly even the train and Gloribee depot(later re-fashioned to read Medicine Bow, Wyoming) Both "Canyon" and "Virginian" were Universal products. There's a fairly good climax where Hardie's placed in real jeopardy, and Patricia Owens is easy on the eyes as the snobbish writer from back east but otherwise not much to recommend it, aside from the color aspect.
Dracula (1931)
Mr. Lugosi's Triumph
I just finished watching "Dracula" for the first time from start to finish. Over the years, I've seen only the first few minutes plus the original trailer, that's all. I've become a huge fan of Mr. Lugosi in recent years, reading biographies, watching interviews on You Tube, listening to radio shows on which he appeared, etc. When I saw that "Dracula" was going to be aired on Retroplex one night recently, I made a point of recording it, and, as mentioned, just finished watching it this Sunday morning. It was a great treat to finally see Mr. Lugosi in his most famous role as the Count, especially after only reading about it in biographies, film histories, seeing brief retrospective clips, etc. I was very impressed with the film's atmospheric gloominess and sense of impending dread, right from the outset. The Count's castle, too, is a masterpiece of Gothic-horror design. Mr. Lugosi was instantly compelling, chilling, and intriguing as the owner-occupant. One really can't take one's eyes off of him from his first appearance. I have no criticisms of the film, except for the minor ones stated by others, i.e., generally slow pace, a kind of theatrical staginess, some static, talky scenes, but none bothered me personally. I realized immediately that the lack of a background musical track and slow pace created a fantastic sense of time, place, atmosphere, and suspense. I cared about everything Mr. Lugosi as the Count said and did. He's mesmerizing as well as sympathetic. He brought total credibility to the daily, real-life existence of a vampire, far more compelling than any of the other, "normal" humans featured in the story. Unlike some other reviewers, I found Dwight Frye's portrayal of Renfield almost comical, way too over the top. It seemed such an exagerration of the stereotyped mental patient, though I know he was controlled by the Count. Seen today, the portrayal seems somewhat distasteful, though, as mentioned, I understood it in the context of the plot. Over time, while watching, I actually came to appreciate his performance a liitle more. The main ladies involved gave the impression of Hollywood starlets, not exactly convincing representatives of the Victoria-era. Dr. Seward and Prof. Van Helsing were quite realistic and believable, however. I wish primarily that Mr. Lugosi had been given far more screen time than he was, as the scenes in which he appears are enthralling. Especially liked how he turned himself into bats and wolves without special effects visually showing this. Very imaginative camerawork! "Dracula" proves that everything doesn't have to be seen to be believed! One final comment I'll make in passing. I mentioned Dwight Frye. In the early scenes, when he first arrives, meets, and follows the Count into the castle's interior-- he reminded me a little of the young Bob Hope, perhaps in one of his haunted house pictures like "The Ghost Breakers". With the soundless background, I kept expecting to hear Renfield say Hope-like lines such as, "Who lived here before you--Phyllis Diller"? "These cobwebs are so thick even the Hubble telescope couldn't see though them". "Who's your interior decorator--Edgar Allen Poe"? Or--"This place would scare Vincent Price"! But this is just me, since I'm a huge Bob Hope fan. I quickly got out of this mode, though, and thoroughly enjoyed "Dracula" from start to finish, with nothing but affection and kudos to Mr. Lugosi and his timeless triumph!
Man of Aran (1934)
Half Hemingway, Half Melville
Saw this for the first time on TCM airing for St. Patrick's Day. As a huge fan of Ireland, the Irish, and Irish history, I was desirous of catching this. It's engrossing and fascinating but only up to a point. There are many repetitive images that make the plotless film rather boring. I was tempted to cut it off fairly early on, but the unusual location and dramatic coastal scenery kept me watching. The sparse dialogue is unintelligible but unnecessary to the visuals anyway. There's something about the black and white photography, too, that gives the film a kind of other-worldly quality that captivates. As mentioned, though, the imagery is repetitive, e.g., how many times does one need to see the crashing waves, spectacular as they are? The shark-hunting and killing sequence reminded me of Hemingway's "The Old Man & the Sea"(written decades later) and Melville's "Moby Dick". One admires the islanders' teamwork but even this portion goes on too long. "Man of Arran" probably could've been half as long and possibly more effective as a straightforward travel documentary. Though I'm glad I watched, it takes patience to sit through. Most people today wouldn't. Others, like me, appreciate it for the time capsule it represents of a no-doubt vanished way of life.
The Scarlet Pimpernel (1999)
Great Grisly Fun
Just finished watching the first 2 episodes of this miniseries on a dvd bought from a discount bin in a local mall bookstore. Has taken me over a year to get around to watching it. Glad I finally did! I recall seeing these 2 episodes on TV many years ago. I remembered little, but certain moments seemed vaguely familiar. I enjoyed it as a tale of adventure right out of the history books. The French Revolution long of special interest to me. I thought it conveyed the horrific atmosphere of those turbulent times quite well. The popular-in-its-day guillotine-dance that was featured prominently in Episode 1 was quite chilling to watch. Something very disturbing about it to me. Richard E. Grant was fun and compelling to watch, quite adequate in the role of the aristocrat-saving faux fop. Speedily paced though occasionally confusing, though never fatally. I actually didn't mind the lack of disguises. Sometimes in stories such as these, the use of disguises can be tedious. The cold-hearted bloodletting, though gruesome, appeared accurate and looked authentic. Episode 2, set in the Vendee, especially well-done, I thought. Didn't realize there are 4 more episodes. I'd like to catch them sometime, too. The only jarring note was the presence of Ms. McGovern, of later Downton Abbey fame. She seemed too American for a Frenchwoman. Eventually I came to like her in the role but not the best casting. In short, I gave it 8 stars. I've never read the book, but I think this series is well-done, giving the subject matter the old college-try--and succeeding nicely!
A Global Affair (1964)
A Flat-Earth Globe
I'm a huge Bob Hope fan but this film's rather disappointing, rather dull, and not terribly funny. There are some amusing moments and recognizably-typical Hope lines but the premise is limited and proceeds slowly in spots, especially in the prolonged scene between Hope and Lilo Pulver, a Soviet sociologist featuring now-dated, propagandistic comments from both parties, and is tediously talky in nature.
Mr. Hope himself looks trim and moves and speaks appealingly but aside from some of his lines, almost anybody else could've played the role. For a Hope comedy, it's not funny enough. Perhaps if some other actor was playing the part of Lattimore, it wouldn't've seemed so obvious, as not as much would've been expected, or been as desirably-dependent on a star's well-known personality. Hope, as always, is likeable and smooth but the plot and script don't give him much to work with.
The movie, as mentioned, is dated. Almost noone watching today would recognize the silent cameo of Adlai Stevenson, a household name in his day. And, until recently, not many viewers would understand the U.S./Russia rivalry, as presented here with regard to the baby. In fact, the entire vehicle has a Cold War, pro-West propaganda feel to it--almost as if the U.N. cultural unit asked Hollywood to make such a feature, using the most patriotic American comedian then in existence, Bob Hope.
In fairness, the star was trying new things by this point in his film career. He was getting older, and couldn't remain popular with audiences in the same way as he did during the studio system's heyday. By the time of "A Global Affair", Hope was playing a more mature type of suburban, middle-class American, usually a father or a businessman, or both, rather than a knockabout, wisecracking clown-type, great as he was in those earlier roles, often with songs and musical interludes. By 1964, all this was passe', and the comedian's movie roles began reflecting the changing, mid-20th century society of the country.
In short, "Affair", though offering a potentially cute premise, doesn't really deliver much with it. The film screams for some big comedy moments, or, at least, a huge, hilarious ending but it was not to be. Although the storyline's clearly padded, more inventive, humorous situations might've saved it. Surprisingly, the movie picks up a little steam in the last quarter-hour, becoming livelier and a little funnier but, in truth, the film seems like an extended sketch from one of Bob's TV specials, where it might've come off better on a smaller, more intimate, screen.