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Reviews
The Hatchet Man (1932)
They couldn't make this movie today...or could they?
Naturally, the casting of Caucasian actors in Asian roles (see also "The Good Earth," "Dragon Seed," Charlie Chan, Mr. Moto, etc.) is a thing of the past. Casting Edward G. Robinson as a Chinese hit man is equivalent to doing a revival of "Flower Drum Song" with Hugh Jackman and Britney Spears. However, the plot of "The Hatchet Man" is well-thought out and surprisingly respectful of Chinese culture in America. Okay, they're killing each other, but is that any worse than, say, "The Godfather" series as relates to Italian-American culture? At least that don't have the Chinese characters saying things like, "Oh, me velly solly." Plus, the ending (which I won't spoil) is absolutely right and decidedly welcome.
King Kong (1966)
Almost lost
I remember nothing about this show, which was on when I was seven years old, but for some reason, the theme song stays with me to this day: "King Kong/You know the name of...King Kong/You know the fame of...King Kong/Ten times as big as a man!" I can't remember my niece's birthday, but I remember that stupid song. Why?
Annie Get Your Gun (1950)
Too Bad They Couldn't Combine the Two
And the debate goes on -- Judy vs. Betty. While I'll admit that Betty's bombast is generally appropriate for the brassy nature of her character, I was ready to smack her about the eighth time she popped her eyes. Still, you could believe she was Annie Oakley (as least the show's version of Annie), whereas if Judy had played the part, even at the height of her powers, it would have come across as a Judy Garland vehicle. You would always be watching "Judy", not "Annie". That being said, I kept thinking as I watched it, "Judy could have done this number better" ("They Say It's Wonderful", "I Got the Sun in the Morning") or "This is definitely a Betty number" ("Anything You Can Do", "You Can't Get a Man With a Gun"). Overall, I'd say Betty did a more-than-creditable job. As for Howard Keel, I never care for him unless he has a mustache.
One final comment -- with all the Judy/Betty comments, did no one think to comment on the positively Neanderthal treatment of Native Americans in this movie? No wonder the libretto had to be re-written for the Broadway revival!
The 5,000 Fingers of Dr. T. (1953)
Under-rated fantasy
This movie was practically unnoticed upon its initial release, and there's not a whole lot more awareness of it today. It deserves wider recognition. It's the only original non-animated film from the fertile mind of Dr. Seuss. Despite the studio clamping down on the budget (causing Seuss to walk out on the project for a time), it does a remarkable job of creating a live-action equivalent of the worlds created on the pages of Seuss' books. Hans Conried (whose voice would crop up in several Seuss cartoons later) has the best role of his career as the maniacal Dr. Terwilliker, and Tommy Rettig (from the "Lassie" TV series) gives a sympathetic portrayal as put-upon young Bart. But the real stars of the film are the production designers and choreographer Eugene Loring. The latter's contributions are especially impressive in the opening chase sequence and in the dungeon production number. The songs aren't much to speak of, but everything else about the film is first-rate.
The Trumpet Blows (1934)
Vintage corn
They don't make movies like this any more. Maybe it's just as well, though it's amusing enough, in a 'time capsule' fashion. Adolphe Menjou, George Raft, and Sidney Toler are as unlikely a trio of Mexicans as you're ever likely to see, but then these were the days when you could cast Humphrey Bogart as an Irish stablehand (Dark Victory) and people would accept it. Not a bad timekiller, though you wouldn't want to watch it more than once.