I am a fan of Sandahl Bergman, but I gave this a rating of 3. I might have rated it a little higher were it not for the fact that I felt that the makers of this film did a rip-off of the title of the 1935 film and the novel on which it was based. I have no objection to admiring scantily-clad beauties, but I am not entertained by seeing them whipped or tortured. I tend to enjoy campy films, but the campiness in this one often falls flat. There is an unevenness in tone and characterization. The two male protagonists start off as obnoxious macho jerks whose misogynist attitudes, we are somehow expected to believe, are transformed in short order into sympathetic enlightened pro-feminists.
Reviews
9 Reviews
Pampered Youth
(1925)
A silent film based on Booth Tarkington's novel "The Magnificent Ambersons."
14 July 2011
The only review I can offer is based on the fragmentary version I watched on a DVD issued by RetroFlix. Poor picture quality, and nowhere near 70 minutes in length. The title character is called Jack, not Georgie Amberson Minafer as in the novel and in the 1942 Orson Welles film. Jack's childhood scenes (where he is purportedly portrayed by Ben Alexander, who later played Sgt. Friday's partner in the TV series "Dragnet") are absent from this DVD. Jack turns away Mr. Morgan, who is courting Jack's widowed mother Isabel. Isabel does not die of a broken heart in this version --- she is hospitalized due to a tenement fire, from which she is rescued by Mr. Morgan. Jack is also in the same hospital as a result of having been struck by an automobile. If Aunt Fanny is in this movie, she's not in the short fragmentary DVD I watched.
Mr. North
(1988)
Eyewitness to some of the making of the film
11 June 2009
Here's a bit of trivia about the making of this film. The character played by Anthony Edwards is hired to read to the character played by Robert Mitchum, a wealthy recluse who lives in a home with a well- stocked library. The elegant bookcases had to filled with elegantly- bound books, so the film crew asked the Newport Public Library for help in filling the shelves of the bookcases. I worked as an assistant to the cataloger at the library, and I was assigned the task of choosing such books from the books that we had in storage. We had several multi- volume sets with nice uniform bindings. I recall choosing a set of the works of Henry James (who was a regular visitor to Newport in his younger days) along with some other sets by various writers and some individual volumes that would look appropriate for the library of a rich man in the 1920s. John Huston was bed-ridden during the filming and died --- he did not die before filming started. I observed the filming of the parade scene -- I was relatively close behind the camera as it started to move on tracks to follow the parade. I hung around for at least two "takes," maybe three. Lauren Bacall rented movies at a Newport video shop which specialized in classic films (including silents) and foreign films. The name of the video store was Rosebud, and its owner was a film school graduate whose dog was also named Rosebud. I was a patron of the store and was friendly with the owner --- Bacall kept her updated on John Huston's deteriorating condition. Bacall recommended the store to Anthony Edwards and he came in regularly to rent movies --- when the owner told Edwards that she did not have a copy of "Top Gun" (his biggest movie role up to that time) in her store, he laughed. What did I think of the movie? -- as most of the other comments have said, it's a pleasant film -- not a great film, but an appropriately modest adaptation of Thornton Wilder's nostalgic revisiting of the summer he spent in Newport.
Hostel
(2005)
They READ the screenplay?!
4 July 2006
In the DVD commentaries for this film. the "artists" involved congratulate each other on the quality of the screenplay. ARE THEY SERIOUS ??? -- have they never seen a film written and directed by Preston Sturges? IF they ever saw a Sturges film or "Citizen Kane," then they must be totally oblivious to the inferiority of their "dialogue" --- and Quentin T. goes along with this charade -- do these a-holes have NO shame? Eli says he WANTS to be typecast as a HORROR screenwriter/director --- put that man in a room and FORCE him to watch the classic 1930s horror films, with all their ingenious stylistic references to Expressionist German drama.
In Person
(1935)
A treat for fans of Ginger
24 June 2006
I am going to rate this a little higher than some of the other reviewers. The plot here is less awkward than the creaky plot mechanics of the 1936 Astaire/Rogers "Swing Time" (which, despite the artificiality of the "are cuffs on formal trousers in season?" plot device, is nevertheless a masterpiece). Most fans of musicals would agree that "Swing Time" rates a 10. "In Person" has at least one great song-and-dance number -- "Out of Sight, Out of Mind" with music by legendary Oscar Levant and lyrics by Dorothy Fields (among Fields's hundreds of songs is the Oscar-winning "The Way You Look Tonight" in "Swing Time"). Ginger looks sexily charming even with the fake buck teeth and the glasses. This film is not on the level of "Swing Time," but at least it has a less annoying plot.
Citizen Kane
(1941)
Goes Beyond 10 Stars
16 March 2005
There's not much I can add to what's already been said about this much-discussed classic, but I would like to comment on the revisionist trend of Best Movie lists to downgrade this film from its traditional #1 position. For instance, the original list compiled by "Entertainment Weekly" critics rated "Citizen Kane" #1, but then a subsequent list moved "The Godfather" into #1 position.
Well, I've watched "Citizen Kane" with pleasure at least 25 times, but 3 times around with "The Godfather" is enough for me! And if critics are just sick and tired of rating "Kane" #1, then I can think of better replacements than "The Godfather" -- for instance, any hilarious comedy written & directed by Preston Sturges -- "The Miracle of Morgan's Creek" springs to mind -- or Billy Wilder's "Some Like It Hot" (#1 on AFI's comedy list). I think comedy is ultimately more profound than tragedy, so I don't see why a comedy can't be considered for the top spot. Comedies also tend to be overlooked at Acadeny Award time.
But I suppose I'm unusual in that I think "Citizen Kane" has many fine comedic touches (the flustered vocal coach and prompter during the opera sequences would be one instance). I realize that, overall, it's a tragic drama, but there are quite a few comic highlights along the way. It's a very entertaining film.
Finally, in the interests of "truth-in-advertising," I should mention that I have a personal reason for my interest in "Citizen Kane" --- I am related (not by blood, but by the marriage of one of my dad's sisters) to members of the Missouri branch of the Hearst family. So 3 of my cousins are, in turn, distant cousins of Patty Hearst. And my late uncle, Richard Hearst, told me of family visits by the real Citizen Kane, William Randolph Hearst, who handed out silver dollars to the kids (my uncle was one of the kids). All my Hearst cousins like the film --- but I suppose some of the California Hearsts might be less enthusiastic about this classic film.
Well, I've watched "Citizen Kane" with pleasure at least 25 times, but 3 times around with "The Godfather" is enough for me! And if critics are just sick and tired of rating "Kane" #1, then I can think of better replacements than "The Godfather" -- for instance, any hilarious comedy written & directed by Preston Sturges -- "The Miracle of Morgan's Creek" springs to mind -- or Billy Wilder's "Some Like It Hot" (#1 on AFI's comedy list). I think comedy is ultimately more profound than tragedy, so I don't see why a comedy can't be considered for the top spot. Comedies also tend to be overlooked at Acadeny Award time.
But I suppose I'm unusual in that I think "Citizen Kane" has many fine comedic touches (the flustered vocal coach and prompter during the opera sequences would be one instance). I realize that, overall, it's a tragic drama, but there are quite a few comic highlights along the way. It's a very entertaining film.
Finally, in the interests of "truth-in-advertising," I should mention that I have a personal reason for my interest in "Citizen Kane" --- I am related (not by blood, but by the marriage of one of my dad's sisters) to members of the Missouri branch of the Hearst family. So 3 of my cousins are, in turn, distant cousins of Patty Hearst. And my late uncle, Richard Hearst, told me of family visits by the real Citizen Kane, William Randolph Hearst, who handed out silver dollars to the kids (my uncle was one of the kids). All my Hearst cousins like the film --- but I suppose some of the California Hearsts might be less enthusiastic about this classic film.
The Magnificent Ambersons
(1942)
"Nest of Cracks"
16 March 2005
Another reviewer used the fuller quote "...Loose Quicksilver in a Nest of Cracks..." as the heading of his review, and I agree with most of what the other 10-star reviews say, so I'll be brief and not repetitious. First of all, I'd like to point out that the quote mentions "quicksilver," which of course is Mercury. The Mercury Players are the stars of this film and "Citizen Kane" --- coincidence?
There are at least 2 books that deal with the relative merits of film adaptations of novels -- which is better, the novel or the film? Both of these books that I read seem to think that the film of "Magnificent Ambersons" is better than Tarkington's novel. I read the novel -- it is not written in a wordy old-fashioned style typical of novels of its day (1918) -- it's a "good read" by today's standards -- even a "great read" -- I'd say that the novel and the film are co-equals in terms of artistic excellence. Factory soot and general air pollution is a prominent theme in the novel, as in 2 other novels by Booth Tarkington (he collected the 3 novels together in one volume under the collective title "Growth"). Tarkington was also concerned about what we today call urban sprawl.
In both the film and novel, the name of Georgie's horse is mentioned several times -- "Pendennis" -- the title character of a 1850 novel by William Makepeace Thackery (who also wrote "Vanity Fair") -- "Pendennis" is a novel about snobbery (and surely Georgie is also a snob). For what it's worth, in my opinion, Tim Holt's portrayal of Georgie is just fine. And isn't it ironic that Tim Holt, son of cowboy actor Jack Holt, returned to the family business of B-Westerns (along with his sister Jennifer) after he turned in good performances in 2 of the greatest films ever made (his other major role was in "The Treasure of the Sierra Madre" -- he also had a minor role in "Stagecoach")?
Read the novel if you want a full explanation of how the Amberson family lost its fortune. Also, the film mentions that Aunt Fanny lost her money by investing in a "headlight company" -- the novel makes clear that this company is NOT connected with Eugene's automobile company.
Finally, as another reviewer pointed out, the non-Wellesian tacked-on studio ending for the film, though abrupt, is fairly faithful to the novel. I, too, wish I could see the 53 or 55 or 58 minutes of Welles's footage discarded by the studio, but I am not prepared to heap abuse or ridicule on the studio ending.
When A&E cable network commissioned a remake of Welles's film, it's too bad the expanded 150-minute running time was not better used to clarify the plot. The same thing happened when TV produced a miniseries remake of "The Long Hot Summer," loosely based on Faulkner's Snopes Trilogy (especially, the first novel, "The Hamlet") -- instead of restoring some of what's in the novels, the TV writers were asked to confine themselves to expanding the original screenplay. Another lost opportunity.
There are at least 2 books that deal with the relative merits of film adaptations of novels -- which is better, the novel or the film? Both of these books that I read seem to think that the film of "Magnificent Ambersons" is better than Tarkington's novel. I read the novel -- it is not written in a wordy old-fashioned style typical of novels of its day (1918) -- it's a "good read" by today's standards -- even a "great read" -- I'd say that the novel and the film are co-equals in terms of artistic excellence. Factory soot and general air pollution is a prominent theme in the novel, as in 2 other novels by Booth Tarkington (he collected the 3 novels together in one volume under the collective title "Growth"). Tarkington was also concerned about what we today call urban sprawl.
In both the film and novel, the name of Georgie's horse is mentioned several times -- "Pendennis" -- the title character of a 1850 novel by William Makepeace Thackery (who also wrote "Vanity Fair") -- "Pendennis" is a novel about snobbery (and surely Georgie is also a snob). For what it's worth, in my opinion, Tim Holt's portrayal of Georgie is just fine. And isn't it ironic that Tim Holt, son of cowboy actor Jack Holt, returned to the family business of B-Westerns (along with his sister Jennifer) after he turned in good performances in 2 of the greatest films ever made (his other major role was in "The Treasure of the Sierra Madre" -- he also had a minor role in "Stagecoach")?
Read the novel if you want a full explanation of how the Amberson family lost its fortune. Also, the film mentions that Aunt Fanny lost her money by investing in a "headlight company" -- the novel makes clear that this company is NOT connected with Eugene's automobile company.
Finally, as another reviewer pointed out, the non-Wellesian tacked-on studio ending for the film, though abrupt, is fairly faithful to the novel. I, too, wish I could see the 53 or 55 or 58 minutes of Welles's footage discarded by the studio, but I am not prepared to heap abuse or ridicule on the studio ending.
When A&E cable network commissioned a remake of Welles's film, it's too bad the expanded 150-minute running time was not better used to clarify the plot. The same thing happened when TV produced a miniseries remake of "The Long Hot Summer," loosely based on Faulkner's Snopes Trilogy (especially, the first novel, "The Hamlet") -- instead of restoring some of what's in the novels, the TV writers were asked to confine themselves to expanding the original screenplay. Another lost opportunity.
Christmas in July
(1940)
A Comic Treat At Any Time of the Year
16 March 2005
Warning: Spoilers
Could this be one of Preston Sturges's most under-appreciated comedies? -- in addition to being one of his funniest. In "Sullivan's Travels," Preston Sturges has the Joel McCrea character speak admiringly of fellow director Frank Capra. In "Christmas in July" possibly Sturges was trying to suggest to Capra how to handle sentiment without falling into sentimentality --- the scene where Dick Powell is handing out presents to his neighbors, and he gives a doll to a crippled girl in a wheelchair -- a remarkably tender moment in the midst of a hectic funny scene -- done with just the right deft touch.
One of my favorite lines occurs when the owner of the Maxford Coffee Company (played by bug-eyed character actor Raymond Walburn) sarcastically tells apparent contest-winner Powell, "I can't wait to give you my money!"
Sturges also shows that you can have plot complications without resorting to stock villains --- no simplistic class warfare here, such as you'd find in a Frank Capra film -- rich and poor are equally lovable -- even gruff opinionated William Demarest. Sturges embraces all of humanity, all classes.
This film has an exceptionally satisfying "feel-good" ending --- the audience is made aware of the exuberantly happy ending before the main characters realize the change in fortune about to befall them --- the camera zooms across the city to reveal that a decision is going to unravel all the plot complications --- it's a breathlessly whirlwind revelation to the audience! A unique "feel-good" ending that tops all other "feel-good" endings! As far as I know, the first person to point out the unique nature of this ending was Dale Thomajan in his 1992 book "From Cyd Charisse to Psycho : a Book of Movie Bests."
One of my favorite lines occurs when the owner of the Maxford Coffee Company (played by bug-eyed character actor Raymond Walburn) sarcastically tells apparent contest-winner Powell, "I can't wait to give you my money!"
Sturges also shows that you can have plot complications without resorting to stock villains --- no simplistic class warfare here, such as you'd find in a Frank Capra film -- rich and poor are equally lovable -- even gruff opinionated William Demarest. Sturges embraces all of humanity, all classes.
This film has an exceptionally satisfying "feel-good" ending --- the audience is made aware of the exuberantly happy ending before the main characters realize the change in fortune about to befall them --- the camera zooms across the city to reveal that a decision is going to unravel all the plot complications --- it's a breathlessly whirlwind revelation to the audience! A unique "feel-good" ending that tops all other "feel-good" endings! As far as I know, the first person to point out the unique nature of this ending was Dale Thomajan in his 1992 book "From Cyd Charisse to Psycho : a Book of Movie Bests."
A Miraculously Exuberant Comedy
16 March 2005
Some film buffs think that this Preston Sturges comic masterpiece is a bit too hectic. But I like my screwball comedies fast-paced, and this one ranks with the very best whirlwind romantic comedies (such as Howard Hawks's "His Girl Friday," "Twentieth Century," and "Bringing Up Baby"). The stuttering wedding scene in the office of the justice-of-the-peace (replete with Eddie Bracken's pants falling down to his ankles while he's trying to say his vows) is, for me, perhaps the most hilarious scene ever filmed. There's also the Christmastime birth sequence (an inoffensive parody of the Nativity), with doctors and nurses running back & forth waving their arms, and the great character actor William Demarest collapsing in a faint (the culmination of a series of slapstick pratfalls). Then there's the tender scene in which an exhausted Betty Hutton softly tells Eddie Bracken that he will be a true & loving father even though he's not the birth father (which must have had rich resonance for writer/director Preston Sturges, since he was raised by a loving stepfather) --- a poignant interlude devoid of Capraesque sentimentality. And, finally, we have one last pratfall faint, when Eddie Bracken realizes that he's the stepfather of sextuplets.
Allegedly, some Hollywood producers and directors complained to censor Will Hays about his overlooking so much risqué innuendo in this film --- they wanted to know why he allowed Preston Sturges to get away with it --- allegedly, Will Hays told them that he was inclined to allow a bit more leeway to Sturges because his stuff somehow managed to be simultaneously tasteful, outrageous, and very funny.
Paramount waited 2 years to release this film -- it was made in 1942, but released in 1944 --- the studio was afraid that it would be denounced from church pulpits. Well, despite the Nativity parody, preachers accepted it in its intended non-offensive spirit. There were no howls of protest from the clergy, and the film was a box office hit. Detailed accounts of this 2-year studio delay can be found in 2 wonderful books -- "Between Flops" by James Curtis (still the best biography to date of Preston Sturges), and "Romantic Comedy in Hollywood from Lubitsch to Sturges" by James Harvey.
I anxiously await the DVD release of this masterpiece --- I've been told (via e-mail from son Tom Sturges) that it will include a wonderful interview with the late Eddie Bracken, who remained to the end a beloved friend to the Sturges family.
Allegedly, some Hollywood producers and directors complained to censor Will Hays about his overlooking so much risqué innuendo in this film --- they wanted to know why he allowed Preston Sturges to get away with it --- allegedly, Will Hays told them that he was inclined to allow a bit more leeway to Sturges because his stuff somehow managed to be simultaneously tasteful, outrageous, and very funny.
Paramount waited 2 years to release this film -- it was made in 1942, but released in 1944 --- the studio was afraid that it would be denounced from church pulpits. Well, despite the Nativity parody, preachers accepted it in its intended non-offensive spirit. There were no howls of protest from the clergy, and the film was a box office hit. Detailed accounts of this 2-year studio delay can be found in 2 wonderful books -- "Between Flops" by James Curtis (still the best biography to date of Preston Sturges), and "Romantic Comedy in Hollywood from Lubitsch to Sturges" by James Harvey.
I anxiously await the DVD release of this masterpiece --- I've been told (via e-mail from son Tom Sturges) that it will include a wonderful interview with the late Eddie Bracken, who remained to the end a beloved friend to the Sturges family.
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