THE CABINET OF DR. CALIGARI (1919, GERMANY)

In the beginning...She Blinded Me With Silents (Post 5 of 12)

The Cabinet of Dr. Caligari

Warm...Rohrig...Weinmann...Weine

The alliteration of those names helped me to remember them all for my History of Film class I took in the 80's when we went over silent films, expressionism and The Cabinet of Dr. Caligari in particular. But what are the importance of these names? Herman Warm designed the delightfully expressionistic sets for the movie. Rohrig and Weinmann painted these sets. And Robert Weine was the director of this tale of madness...exploitation...and SONAMBULISM!!

But the film offers more than it's unusual design. It is the forerunner of films that try to throw the viewer narrative curve balls. Is the story we think we are seeing, the real story? Is the narrator reliable? Is the one we see as evil, really good? Or is the narrator the only one who sees that he isn't good? What are the hints that what we are seeing isn't what we may think it is at first?

I think of Caligari when I see films like A Beautiful Mind, The Sixth Sense and most recently Shutter Island (I'm sure Martin Scorcese is a student of Caligari). Even if you've seen variations on the themes of Caligari done many times since, any student of film should see the original. 

And don't forget those names...Warm...Rohrig...Weinmann...Weine...Warm...Rohrig...Weinmann...Weine...I am calling you...I am your master...awaken for a moment from your dark night!

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L'AGE D'OR (1930, FRANCE) TRISTANA (1970, SPAIN)

MOVIES I WATCHED BECAUSE I GOT A SUBSCRIPTION TO NETFLIX AND THEY WERE IN THE 1001 MOVIES YOU MUST SEE BEFORE YOU DIE BOOK MONTH  

(Post 7 of 10)

L'AGE D'OR

Spanish Director Luis Bunuel was described as a "vagabond filmmaker..a director without a country" by film historian Gerald Mast. 

Before seeing this Bunuel double feature, I had only previously seen his film An Andalusian Dog, so I don't know why I was expecting something a little more straightforward this time around. However, The Age of Gold (L'Age D'or) was what came up. And after 69 minutes of women sucking the toes of statues, men having bloody faces for no reason, random orgies, religious desecration, and a Christ-like figure who...I'm not actually sure what he was doing! Anyway, after all that I realized this was another adventure in surrealism. And it does have some strong imagery (including the clerics who appear to have escaped their predicament in An Andalusian Dog) and I may try to see this one again at some point. But I'm frankly ready for some different Bunuel films.

The scholarly film source Wikipedia describes the controversy surrounding this movie, including a riot at a theater during the film's initial run in France in 1930.

Tristana is from 1970 (forty years after L'AGE D'OR for those of you doing the math at home) and is a story of a young lady (the ubiquitous Catherine Denueve) who has a most unhealthy relationship with her Uncle. The complexity of their relationship is the gist of this sad and disturbing film. And it is told in a straightforward manner. 

Interesting that Bunuel has listings in the 1001 book spanning from the 1920's until the 1970's. He and Alfred Hitchcock are the only directors to have films in the 1001 book from all those decades.

TRISTANA

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THINGS TO COME (1936, GREAT BRITAIN)

                                                                     

Doesn't it seem like British movies have a distinctive air of, for lack of another word Britishness? 

But exactly HOW British are they?

How British is it? month (Post 3 of 10)

Things to Come

Plot Summary: John Cabal and others are distressed at the potential for an oncoming World War in the British Everytown during Christmas. Their fears come true as a relentless World War begins that leads to famine, plague, societal degeneration and a disarming lack of petrol during the next thirty years. In 1974, Everytown is visited by a man in a futuristic flying machine who turns out to be John Cabal himself. Cabal is part of a society that is called Wings Over the World that has renounced war. After a fierce struggle with Everytown's evil local warlord, Cabal and Wings Over the World triumph and begin to build a new society. We finally end up in 2036, where Everytown's future toga wearing society lead by one of Cabal's descendants has advanced to a position where they are ready to send someone to the moon. They are in for a struggle, as some in this society fear change and progress and will do anything they can to stop it.

This very early entry into sci-fi is interesting as a curio and the special effects aren't too bad either. H. G. Wells's Things to Come does come across as a little pompous and preachy at times and those toga outfits are a more than a little weird. But there are some neat plot threads in this film such as the continued presence of John Cabal as well as Wells accurate prediction of an upcoming World War. Of course, Wells also predicts we'll send a man to the moon by the year 2036 and "SPOILER" we (in the real world) actually got there a bit sooner than that.

But How British is it? Well it's pretty British in that the setting is the British Everytown and the decisions that determine the fate of this world are determined by Warlords or Toga Wearing Englishmen as if England were still the center of the universe. 

Rating for Britishness from 1-10: Let's give it a 7

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THE LADY VANISHES (1938, GREAT BRITAIN)

Doesn't it seem like British movies have a distinctive air of, for lack of another word Britishness? 

But exactly HOW British are they?

How British is it? Month (Post 2 of 10)

One of the last of Hitchock's British films is noteworthy for its very snappy dialogue, intriguing plot and very likable lead actors (Michael Redgrave, Margaret Lockwood and Dame May Whitty). The action scenes near the end don't seem to hold up too well, but it's still a fun film to watch.

But how British is it?Quite British indeed! Especially seen in the supporting characters of Charters and Caldicott and their somewhat excessive love of the very British game of cricket.

Rating for Britishness from 1-10: About an 8. However, the section on Bandrika gets a 10 for its "Bandrikaness."

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CITY LIGHTS (1931), THE GENERAL (1926), THE PAWNSHOP (1916), THE PALEFACE (1922)

The Golden Age of Comedy (Post 12 of 12: The final battle)

Chaplin Fan: Good evening and welcome to Classic Movies Revisited. Tonight we are going to dredge up a debate that’s been going on for over eighty years. That is, deciding who was the king of silent film comedians, Charlie Chaplin or Buster Keaton. I’m Chaplin Fan. And please, let’s stick to the films and not hold against Charlie his succession of teenage wives or any political views.

Keaton Fan: And I’m Keaton Fan. And yes, don’t hold against my guy that he later appeared in Beach Blanket Bingo.

Chaplin Fan: Deal. Go on.

Keaton Fan: My submission for the jury is Buster’s 1926 classic The General and since we need to have a short as well, I have chosen The Paleface from 1922. Why, The Paleface? Well, because I had a copy handy on VHS.

Chaplin Fan: My submission for the jury is Charlot’s 1931 classic City Lights and since I needed to pick a short as well, I chose The Pawnshop from 1916. Why did I choose The Pawnshop? Because I had a Super 8mm copy of this film in the 70’s. and I wanted to relive the memory. So make your case for The Great Stone Face.

Keaton Fan: Gladly. First of all, the most important question to answer about any silent comedy is: was it funny? Well, yes. Keaton films are damn funny. You want physical comedy? Nobody could do their own stunts like Keaton. He was an amazing visual artist. He could make something simple like about to get burned at the stake in The Paleface funny just by moving slightly away from where the tribe is about to light the fire underneath him. And the stunts on the train during The General are not only funny, they forwarded the plot and some of them makes you wonder how in the world did he do that? And he wasn’t all about stunts. Subtle scenes like the Union general burning a hole in the tablecloth and Keaton using the hole to catch a glimpse of his true love were great. Chaplin was always the one that had a reputation for demonstrating pathos or sympathy for his character, but look at the final scene of The General where Keaton states his occupation as “soldier.” I dare you not to shed a tear to that one. Now make your case for The Little Tramp.

Chaplin Fan: Thank you. In viewing The Pawnshop and City Lights, I noticed Charlie’s growth from the most popular movie star in the world to the greatest artist in the world. Charlie could find comic gold in getting caught in a ladder, fixing a cuckoo clock or accidentally foiling a heist. And in City Lights, how can you beat the opening scene of the unveiling of a statue with the Little Tramp on its lap. And the last shot of the tramp smiling when the blind flower girl regains her sight. Find a more touching ending of any movie. EVER! I haven’t even talked about the boxing scene. Hilarious, masterful and better every time you see it. Charlie always worked with great supporting foils and feemes. John Rand, Edna Purviance and others in his films were the greatest supporting comic actors of the day and Chaplin wasn't afraid to use them-

Keaton Fan: -Hold on a second. Why are we arguing?

Chaplin Fan: I don’t know. We’ve always argued about this.

Keaton Fan: Why don’t we work together? I think Chaplin was great, just not as great as Keaton.

Chaplin Fan: And I think Keaton was great, just not as great as Chaplin.

Keaton Fan: Isn’t it hard enough to get a modern audience to appreciate any black & white movie, yet alone a silent one.

Chaplin Fan: I’m with you. It’s a comic art form in cinema that was unique and will never come back. Let’s appreciate it.

Keaton Fan: Work together?

Chaplin Fan: Together.

Keaton Fan and Chaplin Fan shake hands.

Keaton Fan and Chaplin Fan stare at each other in silence.

Keaton Fan: (pointing) Keaton is number one!

Chaplin Fan: (pointing back) Chaplin is number one!

Keaton Fan huffs and exits stage left.

Chaplin Fan huffs and exits stage right.

A giant title card drops on the stage which reads: THE END

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MODERN TIMES (1936)

The Golden Age of Comedy (Post 8 of 12)

Modern Times

Modern Times is probably my all-time favorite of the Chaplin films. Chaplin was about the only one with the power and skill to still make silent films in 1936, and this film was a tremendous achievement. Charlie's scene (above) that is an exercise to get the workers to eat lunch more efficiently is a classic, as well as his assembly line stunts.

I also liked the ebb and flow of this character continually getting into trouble, going to jail and then getting out before repeating the process.

There's also something about Chaplin's blindfolded skating and almost falling that I've always liked.

And Modern Times also finds the perfect woman counterpart for the little tramp in Paulette Goddard.

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A NIGHT AT THE OPERA (1935)

The Golden Age of Comedy (Post 7 of 12)

A Night at the Opera

When the Marx Brothers left Paramount studios and went to MGM in the mid-thirties, their first film at the studio is often considered by many to be their finest.

A Night at the Opera has many of the Brothers' famous moments. The party of the first part dialogue between Groucho and Chico, some of the best scenes between Groucho and Margaret Dumont, the impersonation of the three bearded aviators, the grand opera finale featuring Harpo and Chico in the orchestra pit and, of course, the crowded stateroom scene, perhaps the Marxes most famous single scene. There is also one of the funner musical interludes between Harpo and Chico (Full disclosure: I always enjoy Chico's piano playing more than Harpo's harp playing). We also have perhaps the Marxes best comic foil in the insufferable Herman Gottlieb, played by Sig Ruman.

We also have the bone of contention with many Marxist fans, that being the musical subplot. This one features the tenor played by Allan Jones and soprano played by Kitty Carlisle. Do their scenes get in the way here? A little. But the two actors are likable enough, can sing and the relationship of their characters to the Marx Brothers does move the plot along.

There is also the issue of the extravagant musical numbers that the boys never had at Paramount. The musical interlude on the ship bordered on being a bit much. However, the opera scene itself was an integral part of the plot and very fun to watch. However, I do think these musical numbers began to start being overblown by the time A Day at the Races came along.

But I shouldn't quibble, the Marxes only made a handful of films and just a couple of great ones.

And A Night at the Opera is certainly on the short list.

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JUDGE PRIEST (1934)

The Golden Age of Comedy (Post 6 of 12)

Judge Priest

Name two things about Will Rogers.

 If you asked me this I would have said, "He said I never met a man I didn't like and he died in a plane crash with Wiley Post." I'm probably not alone in remembering him this way, but let us not forget that he starred in many very popular silent and sound pictures before his 1935 death. Of course, his newspaper column and witticisms were also read by millions during this period.

The 1001 movie entry with Will Rogers is Judge Priest. This film is an interesting animal. Set in a small Kentucky town in 1890, Will plays  the old country judge who dispenses homespun justice with humor while Civil War veterans sit in the gallery planning for a potential rematch with the Yankees. We also have local politics, candy pulls, lots of gossip, random acts of chivalry and a square dance (it's a John Ford picture, after all.).  Some of the humor is funny, some of it a little cringe worthy (A Rogers joke about lynching in particular). But I guess you got to take the bad and the good.

They don't make 'em like this any more. (I'm glad they don't, but I'm glad they did...How's that for a compromise?)

In defense of Judge Priest co-star Stepin Fetchit-I first heard of Stepin Fetchit (who was also a good friend of Will Rogers off camera) second hand. I have heard many African-American actors quoted as saying  something to the effect of not wanting to do any Stepin' Fetchit roles. That's all well and good, but should we hold this against the original? His character (at least from Judge Priest, but I'm sure in other roles as well) was lazy, stupid and constantly getting things mixed up. But did he have a choice for the kind of parts he was offered?  It's not like Sidney Poitier and Denzel Washington type roles were around for him then. Give him a break and try to look at him in context and you might find him a pretty funny fellow.

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SONS OF THE DESERT (1933)

The Golden Age of Comedy (Post 4 of 12)

Sons of the Desert

Sometimes during the 70's, I received a present of a book called Laurel and Hardy by John McCabe and Al Kilgore. It has pictures of the scenes and breakdowns of the plots of all the movies that the comedy team of Stan Laurel and Oliver Hardy made together. This coincided with the local channel 46 showing the Laurel and Hardy features and shorts just about every night. At least the talkies.

I first saw some of L & H's silent footage in some of the Robert Youngson film compilations I mentioned in an earlier post this month.

Laurel and Hardy, unlike many comedy teams, didn't have a straight man. You had dopey, skinny Englishman Stan and the constantly put upon, fat Southern gentleman Ollie. After they were first teamed in 1926, they made silent shorts until the advent of sound pictures. When they began making talkies at the Hal Roach studio, the team got even better. Almost all their best shorts and feature films were made during the thirties for Roach. And I'm glad to see an L and H movie listed in the 1001 movie book. The plot of Sons of the Desert involves Stan and Ollie as henpecked husbands (a common theme in their movies) and their desire to go to the Sons of the Desert lodge convention in Chicago. Of course, you know the wives are going to find out and this is where the main thrust of the comedy comes from. It also has a funny cameo by Hal Roach regular Charley Chase as a conventioneer.

I think they could have chosen some other L and H features like Pardon Us, Way Out West or Blockheads, but Sons of the Desert is a pretty good choice if you are going to narrow it down to one. In fact, Sons of the Desert has been the name of the Laurel and Hardy fan club for years.

But I would add that in order to be a complete historical moviegoer, you need to watch a couple of their talkie shorts. The Music Box, Another Fine Mess or Big Business are good places to start.

And don't forget to check out a couple of their silents as well.

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DUCK SOUP (1933), ANIMAL CRACKERS (1930)

The Golden Age of Comedy

(Post 2 of 12)

Duck Soup & Animal Crackers

When I was in middle school, I had an assignment to work on a book report. Apparently there wasn't much in the way of guidelines, because I chose to do my report on a  book about The Marx Brothers called The Marx Brothers: Their World of Comedy by Allen Eyles that I had picked up at the local Walden Books. I can't remember what kind of grade that I received for this orignal book choice, but it did indicate I was a bit of a fan.

I was (and suppose still am) partial to the five Paramount movies featuring all four of the Marx Brothers.

Duck Soup

The Marx Brothers were:

The fast talking wordsmith Groucho, with his signature cigar and moustache

The mute, clownish harpist Harpo with his signature horn and top hat

The Italian Chico and his endless butchering of the English language

and Zeppo...I'm not really sure why Zeppo was there, but I kind of liked having him around anyway.

Of the Paramount Marx Brothers films, the only one to make the 1001 movie cut is Duck Soup.

It is one of the most famous comedies of all-time and certainly has as many funny gags as any of the Marxes movies. Highlights include the song Hail Fredonia, Harpo and Chico's constant confrontations with street vendor Edgar Kennedy, Groucho's many scenes with Margaret Dumont (a regular target of his barbs), the final gun battle scene with the Marxes representing the last stand for their country and the classic mirror scene with Chico and Harpo dressed up as Groucho.

No, you can't deny Duck Soup's place on the 1001 list.

But what about the others Paramount movies ?

These films include:

The Coconuts, the first Marx feature and based on their Broadway play.

Horse Feathers, the one set in a college with the football finale.

Monkey Business, the one where they are stowaways

These films have many great moments in their own rights, but none hit the target as consistently as Duck Soup.

However, one other of the Marx Paramount films would make my list.

That would be Animal Crackers.

Now I admit to having a sentimental attatchment to Animal Crackers.

For various reasons, the film had been out of circulation for many decades after it was released. After a restoration, it was re-released in 1974 and that is when I first viewed it. It was certainly the only Marx Brothers movie I went to see as if it were a new release!

The film itself has some of the Brothers best gags.

They include:

1. The party of the first part dictation from Groucho to Zeppo
2. Groucho (as Captain Spaulding) and his farfetched tales of African safaris
3. Groucho's songs "Hello, I Must Be Going," and "Hooray for Captain Spaulding."
4. Harpo and Chico's many scenes, including Chico looking for a flash and Harpo giving him everything but a flashlight.
5. The card playing scene featuring Harpo, Chico and Margaret Dumont.
6. Groucho's scenes with Margaret Dumont, of course
7. Chico's interminable piano rendering of Sugar Time.
8. The constant movement of the valuable Bogarde painting as if it were nothing more than a road map.
9. The overall comic writing of Bert Kalmar, Harry Ruby and George S. Kaufman.
10. And the finale, where Harpo knocks everyone out with his flit spray before spraying it on himself before passing out into the arms of a lovely blonde.

So Duck Soup and Animal Crackers remain my two favorites from the list, but I certainly enjoyed going back through all of them.

Animal Crackers

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STAGECOACH (1939) vs. THE SEARCHERS (1956)

The Great American Western (Post 1 of 12)

Stagecoach vs. The Searchers

The American Film Institute put out their first 100 Years…100 Movies of the 100 best American movies list in 1998. The John Ford directed Western Stagecoach, (starring John Wayne) placed at number 63. The John Ford directed Western The Searchers, (again starring John Wayne) was also on

the list, though placed at a more modest number 96.

Ten years later, AFI put out another list and Stagecoach was nowhere to be seen. The Searchers, on the other hand had moved all the way up to number 12!

So why has the reputation of Stagecoach gone down and The Searchers stock risen so highly?

Stagecoach has the reputation as being the beginning of a more advanced storytelling in Westerns and by all accounts this seems to be true. So why is it not on the list? I'm guessing it may just seem a little too old fashioned now. The battle between the Apaches and the members of the stagecoach doesn't seem to date too well. Also, the cavalry coming to the rescue is now a cliche. It really doesn't matter that it wasn't a cliche at the time. Our modern sensibilities may also react a bit negatively to portraying the Apaches or any Indians without any depth (or families).

Where Stagecoach really gels is in the ensemble cast headed by John Wayne as the Ringo Kid and Claire Trevor as Dallas, the hooker with the heart of gold. We truly get a feel for all of the characters (the southern gambler, the drunken doctor, the mild-mannered whiskey drummer, etc.) and this character develpment really sets it apart.

The Searchers reminds me a little of Saving Private Ryan out West (Saving Natalie Wood?). This film does feel like a more modern Western, so maybe that's one of the reasons that the reputation of The Searchers is on the rise. John Wayne is clearly the star of this one and he is as tough and unrelenting as they get. He even has his own memorable signature line (That'll be the day!).

The Indians (The Commanches) in The Seachers are a better drawn out than in Stagecoach. We see they have motivations (and even families!) of their own!

John Ford's Monument Valley does look quite wonderful in color and I certainly wouldn't argue with The Searchers being on the 1001 movie list.

But my vote between the two would still go with Stagecoach though apparently I'm in the minority now.

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ONLY ANGELS HAVE WINGS (1939)

Jimmy Stewart or Cary Grant month (Film 11 of 14)

Only Angels Have Wings

Action/adventure from director Howard Hawks about South of the boarder airmail carriers who seem to often risk life and limb to the deliver the mail (or nitroglycerin or whaterver). Only Angels Have Wings more than likely invented a lot of the clichés that became standard for the action genre.

Jean Arthur (as Bonnie Lee and that sexy, raspy voice of hers) plays the leading lady who quickly falls for the charms of the rugged boss of the carriers, Geoff Carter (Cary Grant).

As many of the Hollywood films of the era, this has a lot of character actors who were known (at least to me) for other things. Including: Victor Kilian (Sparks) many years later became the Fernwood flasher on Mary Hartman, Mary Hartman, Noah Beery Jr.(Joe Souther), later became James Garner’s sidekick on The Rockford Files. Sig Rugmann (Dutchy), had memorable supporting roles in Marx Brothers movies and Ninotchka. Richard Barthelmess (MacPherson), had earlier played leading roles in D. W. Griffith silent films, and Rita Hayworth (as Judy) later went on to become Rita Hayworth!

But did any supporting actor ever have a better supporting actor year than Thomas Mitchell did in 1939? He has a fine role here as the visually impaired Kid Dabbs, who worships the ground (and the air?) that Geoff walks (flies?) on. That same year he played Gerald O'Hara in Gone With the Wind, the cynical Washington insider in Mr. Smith Goes to Washington and took home the best supporting Actor Oscar for his portrayal of the drunken doctor in Stagecoach. It's too bad Mitchell couldn't have played the Tin Man or the Scarecrow in The Wizard of Oz, too!. Oh, well.

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THE AWFUL TRUTH (1937)

Jimmy Stewart or Cary Grant month (Post 7 of 14)

The Awful Truth

This is the first of a series of popular Cary Grant screwball comedies made during the 30’s and 40’s. Irene Dunne plays Grant's wife/ex-wife/future wife. Poor ole second banana Ralph Bellamy is the Oklahoma suitor to Ms. Dunne who we know doesn’t stand a chance of landing her with Grant around.


There are four Grant comedies on the 1001 list (The Awful Truth, Bringing Up Baby, The Philadelphia Story, His Girl Friday) and the question may come up whether or not that's too many. I wouldn't, but if you make me leave one out, I might omit The Awful Truth, though I don't really want to do that either.

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MR. SMITH GOES TO WASHINGTON (1939)

Jimmy Stewart or Cary Grant month (Post 6 of 14)

Mr. Smith Goes to Washington

Maybe the corniest (And that's not necessarily a bad thing)of all the Capracorn movies that Frank Capra directed in the 30's and 40's. I don't think Jimmy Stewart has ever been better cast as scout leader Jefferson Smith, who gets appointed to the U. S. Senate as someone who wants to do the right thing, which is in direct contrast to what the political power makers that put him there want. And Jefferson's filibuster is of course one of the most famous moments in American movies.

This is the second time I've seen this film and the first time in about twenty years. Capra's It's a Wonderful Life, I've seen at least twenty times. Viewing Mr. Smith again, I noticed more than a few actors and actresses that appeared in both films. Thomas Mitchell as Diz in this film and Uncle Billy in Wonderful Life is the most prominent. But how about Beulah Bondi, who plays Stewart's mother in both films? How about grumpy character actor Charles Lane, who appeared in both films, as well as seemingly hundreds of others up until his death at age 102? How about H. B. Warner, who went from playing Jesus in the silent King of Kings to the Senate Majority leader in Mr. Smith to Mr. Gower,the troubled druggist in Wonderful Life? You also had real bit players like Dick Elliot who was in both films ("Youth is wasted on the young!" is his most memorable line from Wonderful Life. He later went on to play Mayor Pike in The Andy Griffith Show which I include for no reason in particular.

There are others. I know there are others in both movies...but I'll leave that search to Capra film scholars. I'm a busy man, afterall. I've got a life, you know!



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BRINGING UP BABY (1938)

Jimmy Stewart or Cary Grant month (3 of 14)

 

Bringing Up Baby

In this screwball comedy, Cary Grant plays an awkward paleontologist who gets involved in a quest for a missing dinosaur bone with a flighty rich girl (Katherine Hepburn). Hepburn's pets, Baby the leopard and her dog that wants the dinosaur bone for his own sinister purpose, befuddle Grant even more than Hepburn does.

Bringing Up Baby really shows Grant's comedic ability (physical and verbal) and I actually prefer this one to the more popular later Hepburn/Grant teaming, The Philadelphia Story.

They let them get away with that in 1938?: In a memorable scene, Grant is wearing women's clothing and jumps and shouts that he has turned into a fairy! According to Peter Bogdanavich, the strict censors of the time probably didn't even know the double meaning of the word so saw no reason to cut the line from the film.

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THE WIZARD OF OZ (1939)

The Munchkin Coroner and the Mayor of the Munchkin City are Dead (Chapter I)

The Munchkin’s jubilation began to subside the day after Dorothy from Kansas dropped a house on the Wicked Witch of the East. The threat from the Wicked Witch of the West was still very much a problem that no amount of singing Ding Dong the Witch is Dead could abate.

The three leaders of the Lollipop Guild sat on the second step above Munchkin Pond in the center of Munchkin Square as they stared out in the general direction that stretched out past the yellow brick road.

“What do we do now?” said Jerry, the loose cannon of the Lollipop Guild.

Harry, the unofficial leader of the Lollipop Guild drew a heavy sigh. “We wait.”

Paul, the third member of the Lollipop Guild patted Harry on the knee. “Well, I’m completely confident. I’ve never met anyone like this Dorothy before. That girl is simply FABULOUS!” Paul fluttered his fingers to accentuate his enthusiasm.

Jerry growled at Paul, who stuck his tongue back at Jerry before briskly walking away.

“Why do you have to antagonize him?” Harry asked.

“Ah. I don’t get Paul. He’s weird. He never wants to join us when we got tomcattin’ after the Lullaby League. I’ve never seen him even interested in any girl until this Dorothy came crashing down on us. What did he say about her again?”

He said something like “Dorothy rocks my world, I think. Look, you have to admit the girl did save us and Glinda said-”

“Glinda.” Jerry interrupted. “Glinda is a game player. I never understand her riddles. And what was that she said about the ruby slippers? I didn’t get that. And is she ever around when we need her? But…on the other hand, she is rather pleasant to look at, don’t you think? Tell me Harry, do you ever think about…big girls?” Jerry raised his eyebrows as he took a prolonged lick from his lollipop.

Before he could finish, Harry snatched it away from him. Jerry fumed in protest, but remained silent.

The Mayor of the Munchkin City waddled up to them. “Harry,” he said. “I think this is a great day for Munchkin Land. This Dorothy will save us from outside influences. We will then become an autonomous body within the Land of Oz. We will achieve statehood. Independence. We may even become a duchy. Or maybe a regency. Maybe even a province.”

Jerry could only shake his head at the Mayor’s rant.

“I’m not sure what that all means, Mayor.” Harry said. "But Jerry is right in that we are no safer now than we were before and the Witch of the West will be after us more than ever.”

“Hmmmm,” The mayor said. “Do you want me to issue a proclamation? Sign a treaty? Declare a holiday? Should the town engage in another chorus of We’re off to see the Wizard? I’ll think about it and we’ll hold a meeting. But first we must hold a meeting to determine if we should hold a meeting. Then we’ll vote on it. Then we’ll decide if the votes count.” The mayor’s voice trailed off as he walked away from them.

Harry and Jerry turned back to the yellow brick road, which seemed to stretch out even farther into to the unknown than it did just a few minutes ago.


The Munchkin Coroner and the Mayor of the Munchkin City are Dead (Chapter 2)

While making the rounds to make sure that everyone in Munchkin Land was still alive, the Munchkin Coroner was the first to witness the black smoke in the distant clouds. He whistled and the Mayor and the Lollipop Guild came to him at once.

They walked to the tip of the Yellow Brick road with Paul of the Lollipop Guild carting the only known pair of binoculars in Munchkin Land. And they were designer ones to boot!

The mayor signaled for Paul to hand the binoculars to him to read the message, but he took so much time making sure he was situated properly that Jerry grabbed the binoculars from Paul and looked into them.

“S-U-R-R-E-N-D-E-R D-O-R-O-T-H-Y” he read. Jerry brought down the glasses and glared at them all, waiting for a response.

“Liar!” Paul screamed in his high-pitched voice as he grabbed the binoculars back.

When Paul acknowledged that the message was as Jerry said, he dropped to his knees. “Oh, Dorothy. Sweet, wonderful Dorothy. How can we help you in your time of need?”

“Don’t worry, Paul,” Harry said. “That witch will pay for this. And we still really don’t know what’s happening.” Harry turned to the Mayor. “You’ve got to speak to them, mayor. You’ve got to prevent a panic.”

Beads of sweat ran down the mayor’s face. He opened his mouth to speak, but nothing came out.

“When would be a good time to panic, Harry? We’ve put all our eggs in the Dorothy basket and came up snake eyes.” Paul hesitated for a moment wondering if his comment made any sense before continuing. “The Witch of the East was a pussycat compared to Witch of the West. Dorothy should never have made her mad.”

Paul pushed at Jerry. “Don’t talk about my Dorothy that way. You aren’t fit to shine her ruby slippers, let alone put on a pair.”

Jerry eyed Paul with suspicion. “I’d never want to wear a pair of ruby slippers. But I’m thinking you might.”

“What are you trying to say?” Paul said. Arms akimbo, as Jerry approached to him.

Before they could continue, Harry stepped between them. “Never mind all that you two. We’ve got a crisis on our hands.”

The mayor looked at Harry. “Flying monkeys, Flying monkeys," the mayor said with a stutter. "We need to hold a meeting.” The mayor wiped beads of sweat off his expansive forehead.

“No mayor! Don’t scare them with talk about flying monkeys. We mustn’t forget those creatures are no bigger than we are,” Harry said.

“Yeah,” piped in Jerry stepping in front of the mayor and facing the rest of Munchkin Land. "Except they have sharp teeth, they can FLY and they have direct orders from the wicked witch to KILL us! Nothing to worry about there!”

The rest of the munchkin population that had gathered began buzzing and scampering nervously around the square.

The mayor sat down and stared up at the witch’s message. “Nothing to worry about…nothing to worry about,” he repeated, trying to convince himself.

The Munchkin Coroner and the Mayor of the Munchkin City are Dead (Chapter 3)

Daylight broke early the next morning. Paul of the Lollipop Guild was on night watch, but before his shift ended he spotted a sight over the horizon. He let out a whistle, which led the mayor and other members of the Lollipop Guild to come out to where he stood.

“What in blazes is that? Jerry asked, looking up. “It’s coming our way!”

With a frightened look of recognition on his face, Harry yelled. “It’s the Wizard of Oz floating away in his Omaha State Fair balloon!”

Jerry began to panic. “He’s escaping! The Wicked Witch has won. We’re doomed.”

The munchkin people scurried around aimlessly, screaming at the top of their tiny lungs.

The mayor silently held up his arms, signaling the Munchkin people to cease their panic, but no one seemed to be paying any attention to him.

“All is well,” the mayor finally managed to get out. But as he looked around at the ensuing riot, he changed his tune. “Never mind. We’re toast.”

The mayor walked to the first step above the Munchkin Pond. He cupped his hands together and dropped face first into the Munchkin pool. As soon as he hit the water, his body remained unmoving, the flow of waves washing gently over his still body.

Paul pulled his own hair and screamed once again for Dorothy.

The Munchkin coroner toddled to the Munchkin pool with his medical bag to check on the mayor. In a blind rage, Jerry grabbed the yummy part of his lollipop and jabbed the butt of it through the coroner’s chest as he was bending down to check the condition of the mayor.

The coroner grabbed at the lollipop, but since it was so sticky, he was unable to pull it out. He looked around unbelievingly and fell to the ground.

“My gracious. Is he dead?” Paul of the Lollipop Guild asked as Munchkin Land fell silent.

“I still feel a pulse,” Harry of the Lollipop Guild said as he went to one knee and grabbed the coroner’s wrist.

The coroner managed to pull himself up and whispered to Harry, “I’m really, most sincerely…dead.” At this point, he dropped to the ground and lay still.

“Now he’s dead,” Harry said and released his grip.

Jerry slunk into a corner and started to cry. Paul went over to comfort him, but Harry pulled him aside. “Best leave him to his thoughts. Munchkicide isn’t something he’s likely to get over anytime soon.”

With the death of the mayor and the coroner, all of Munchkin Land looked at Paul and Harry.

“I guess you’re in charge now, honey. What do we do?’ Paul asked.

Harry of the Lollipop Guild put his hands on Paul of the Lollipop Guild’s shoulders. “No, Paul. You must lead them. I have another destiny. I know it pains you, but we have to assume Dorothy…is dead. We know the Wizard has left Oz. As for Glinda, she’s never really around when you need her.”

Tears welled in Paul’s eyes. “But what are you going to do?”

Harry backed away from Paul to speak to all the Munchkins. “I’m going out there my friends. I’m going to try to find the Wicked Witch of the West. I know the odds are against me, But I’ve got to try. And even if you don’t see me, remember I’ll be around. Whenever there’s a witch not letting us get apples from a talking tree, I’ll be there. Whenever there’s a flying monkey beating up one of the lullaby league, I’ll be there too. And if Munchkin Land ever comes back from this…Don’t forget to look for me…cause I’ll be there too. I bid you...farewell.”

Harry of the Lollipop Guild turned and began his journey down the yellow brick road.

The munchkins joined hands and hummed Red River Valley until he was completely out of sight.

END

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VAMPYR (1932, GERMANY)

(Monster Chiller Horror Month film 4 of 14)

Vampyr

One's affection for Carl Dreyer's Vampyr depends entirely on the degree of how much the vivid images of the film effect you.

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KING KONG (1933)

(Monster Chiller Horror* Month film 1 of 14)

King Kong

Previous viewings: about 4

There is only one King Kong.

I’m not talking about the recent (definition of recent: last ten years) Peter Jackson version. And I’m not talking about the infamous Dino De Laurentis version from the Seventies (When the monkey die, people gonna cry!). Nor am I talking about the Japanese King Kong vs. Godzilla, which I saw as kid (I don’t remember who won). Nor any King Kong cartoon like the 60's The King Kong Show, that I admit I use to love. No there is really only one. That, of course, is the 1933 RKO original.

I know the special effects reminds me a lot of the special effects from some of the Rankin Bass Christmas specials (King Kong vs. the Abominable Snow monster?) but I still find them effective. And there are some lapses in logic. I mean there are living dinosaurs on the island of King Kong! Living prehistoric dinosaurs! Yes, Kong is amazing, but why doesn’t anyone seem interested in getting hold of some of those dinosaurs in addition to Kong?

And the character of Carl Denham, the movie director, whose team brings Kong back to the states. It is his greed in trying to capture Kong that leads to the death of most of his ship’s crew, many natives on Kong’s Island as well as many in New York after Kong escapes there. Why doesn’t anyone want to punish this guy? He even gets the films famous last line, “Twas Beauty killed the beast.” The last line of the movie should have been, “Karl Denhman you’re under arrest!”

But these are small quibbles. It’s still great to see Kong fighting the dinosaurs, attacking a trolley or just being obsessed with that beautiful angel, Fay Wray.
And is there a more iconic scene in movies than Kong battling the airplanes from the top of the Empire State Building?

Certainly any movie fan should visit Kong at least once in their lifetime.

*Phrase courtesy of my favorite ficitional late night horror host from SCTV, Count Floyd.

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SWING TIME (1936)

Musicals month (3 of 12)

Swing Time (1936)

If I was going to put one Astaire/Rogers movie on the 1001 movie list it would be Top Hat. However, RKO’s Swing Time can be pretty fun too if you’re in the mood for it. I think if you are a dancer, you’re going to really appreciate Fred Astaire. I’m not a dancer, but my niece is and she gives Fred the stamp of approval. Who am I to argue?

Favorite 30’s censorship moment: Victor Moore calls a policeman a son of a bitch under his breath as he is being drowned out by a jack hammer. When the policeman asks him what he said, he says ”Look out for the Big Ditch!”

And the final dance did make me remember John Coffey at the end of The Green Mile crying while watching Fred and Ginger and saying, "Why, they's angels. Angels, just like up in heaven."

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M (1931, GERMANY)

Fritz Lang’s M is considered by many to be the greatest of movies to come out of Germany during the pre-Nazi era. It’s difficult for me to not look at the story of a serial child murderer without thinking how it foreshadows the ascension of the most prolific serial killer of the century.

The film works as a police procedural of sorts, though the audience knows who the killer is long before the authorities do. The great conflict in the film is the competition between the police trying to find the killer and those in the criminal underworld who want to find the murderer for their own reasons.

The “kangaroo court” scene where the child murder is put on trial by criminals is truly the highlight of the film.

And let us not forget Peter Lorre’s memorable defense of himself before this tribunal of criminals:

Do you all want to kill me?
You just want to wipe me out?
But you can’t murder me just like that!
I demand to be handed over to the police!
I demand to be brought before a real court of law!

M will most likely be playing soon at a college film class near you.

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