I noticed that The Legend of Hell House is on FXM Retro tomorrow morning at 11:55 AM and again Tuesday at 7:30 AM. So I made a point of watching it off my DVR today so I could do a full-length post on it.
The movie starts off with a pre-opening credits sequence. Dr. Barrett (Clive Revill) meets British millionaire Deutsch, who has recently purchased the notorious Belasco House. The house is known as "Hell House" because not only is it presumably haunted, the last time anybody tried to investigate what was haunting the place, only one member of the expedition survived. So Deutsch has hired Barrett for the princely sum of £100,000 to figure out what is really going on and rid the house of whatever is "haunting" it.
To that end, Barrett, a physicist by training and not really a believer in the paranormal, has been given leadership of a team involving a "mental" and a "physical" medium. The mental one is young Florence Tanner (Pamela Franklin) who, despite being just a girl in Barrett's mind, is one of the best in her field; the physical guy is Ben Fischer (Roddy McDowall), who also happens to have been the one person to survive the previous investigation. Rounding out the team is Mrs. Barrett, who has no expertise but dammit, she's not going to be left alone.
The four get into the house, and it doesn't take long before things start happening. Not only that, but it really does seem to be things that could only happen because the house is well and truly haunted; it's not one of those "I would have gotten away with it if it weren't for you meddling kids" things where the team is going to find a bad guy and literally unmask him. Making things particularly creepy is that Belasco ran the house as a house of debauchery, so the haunting begins to make the female members of the team do some oddly sexual things.
The Legend of Hell House is a tough one for me to grade. I have to admit that I'm not a particular fan of this genre of movies in general. I've given a positive rating to The Haunting, but I tend to prefer other types of horror to the "lock everybody inside a house for a week and see what the experience does to them" genre. So there were times when I was laughing at the ludicrousness of some of what was going on. Ultimately, however, I think The Legend of Hell House does succeed, at least for fans of the genre. If I were going to introduce people to vintage horror, I'd start with a lot of other things. But for people who like horror and want something they're likely not to have seen before, this isn't a bad one.
The Legend of Hell House does seem to be available on Blu-Ray from the TCM Shop.
Sunday, March 26, 2017
I noticed that The Legend of Hell House is on FXM Retro tomorrow morning at 11:55 AM and again Tuesday at 7:30 AM. So I made a point of watching it off my DVR today so I could do a full-length post on it.
Saturday, March 25, 2017
Tomorrow is apparently Alan Arkin's birthday. I had been looking through my DVR for something available on DVD to do a post about, and decided upon Glengarry Glen Ross before realizing Arkin's birthday was coming up, and it was pure serendipity that Arkin happens to be in the cast of Glengarry Glen Ross.
The setting is an office of a real estate/property development company. The office is a run-down dump, with four agents and their supervisor working it. The agents haven't been all that successful, as the head office brings in a top guy from the corporate office (Alec Baldwin, who only gets the one scene) to shake things up: at the end of the month, whoever has the most in closings gets a car as first prize. Second place gets a set of steak knives, and last place gets fired. Oh, and there's a set of promising new leads -- but you'll only get them if you can close on the old leads we're giving you.
As for the four salesmen, there's Ricky (Al Pacino), who misses the meeting with the guy from corporate because he's trying to close a deal with Mr. Lingk (Jonathan Pryce) at a restaurant. There's also Shelley Levene (Jack Lemmon), the old guy who used to be the top seller but has fallen on hard times; mousy Aaronow (Alan Arkin); and manipulative Dave Moss (Ed Harris). Their immediate boss Williamson (Kevin Spacey) frankly supports the scheme since he sees how worthless the office is and his job is probably on the line too.
None of the three guys who actually shows up to the meeting is happy about it, although Shelley seems to be the one who's actually going to try to close a deal however difficult that might be. Dave, for his part, hits upon the idea of stealing the new leads, and selling them to a competitor and going to work for that competitor. To that end, he's really putting the moves on Aaronow to break in and steal the leads. After all, everybody knows Dave has the motive, bo he needs an alibi while somebody else goes in on the deal with him.
The next morning, everybody shows up to work to find that the place has been burgled and if not quite ransacked, at least disturbed. Meanwhile, two of the salesmen have actually been successful in closing deals: Shelley and Ricky. But as it turns out, both of their deals have catches....
Glengarry Glen Ross is a movie I have big problems with, mostly because of the way the characters are drawn. I've mentioned several times in the past that I'm not a fan of what I call the "comedy of lies", where somebody gets in comedic trouble by telling a lie, and then gets in ever bigger trouble by expanding on those lies. Glengarry Glen Ross isn't a comedy by any means. But the characters all lie incessantly to try to close the deals, and they're all so thoroughly dishonest that it's difficult to like any of them. Ricky, in particular, isn't just dishonest; he's a blowhard spewing philosophical nonsense. They also swear all the time, to the point that the dialogue gets tedious. It's a shame, because Lemmon and Pacino both actually put in good performances.
Glengarry Glen Ross is a movie that probably will appeal to people who like intelligent drama and character study dealing with difficult situations. But I think it's also the sort of movie that's liable to produce a sharp divide in opinions, even more than the sort of movie that could be described as not being very good.
Friday, March 24, 2017
In and among the March Malice movies there are a bunch of shorts, some of which are worth mentioning.
First up at about 10:10 AM is You Bring the Ducks. This one is a Hal Roach short starring Irvin S. Cobb, who is probably best known as the writer who introduced the character Judge Priest. He did some acting, but not a whole lot.
Electrical Power comes on a little after 7:45 PM tonight, and ostensibly tells us about Hoover Dam. The dam was always legally known as Hoover Dam, but it's called Boulder Dam here because Franklin Roosevelt and the rest of the New Dealers were petty little shits who didn't like that the dam had gotten named after Hoover. Of course, a lot of the New Deal was about petty power that continued into World War II as you can see in Marjorie Main's character in Rationing. Anyhow, back to the short, although it's supposedly about Hoover Dam and its production of electricity, it's really a promotional short for upcoming MGM movies in the 1939 season, with a bunch of recognizable clips.
Night Mail. I mentioned this one a couple of months back. TCM's online schedule has it in between Soylent Green (4:00 AM tomorrow, 97 min), and After the Thin Man at 6:15 AM. There certainly is enough time, then, for a 25-minute short. However, the TCM schedule claims it's starting at 6:13 AM. I'm guessing it will run, but starting a good half hour earlier.
Thursday, March 23, 2017
This being Thursday, it's time for another edition of "Thursday Movie Picks", the blogathon run by Wandering Through the Shelves. This week's theme is underdogs. I being a fan of old movies have once again picked three older movies:
National Velvet (1944). Elizabeth Taylor plays Velvet Brown (Velvet is a girl, not a horse), an English girl with a beautiful horse that she thinks is fast, and can jump. So she gets the idea of entering it into the Grand National, the big British steeplechase. Mickey Rooney plays Mi Taylor, a former jockey who helps train the horse as well as getting the horse into the race. It's an absurd dream, but this is a Hollywood movie, so of course little Velvet is able to ride the horse in the race. Actually, this is a pretty good family movie, and the Technicolor cinematography is gorgeous.
The 300 Spartans (1962). The legend of the 300 Spartans who held the pass at Thermopylae long enough to allow the Greeks behind it to build up adequate defenses against the Persians is one of the underdog stories of all time. In this "sword and sandal" version of the story, before special effects and impossibly buff men, Richard Egan plays King Leonidas, who leads the 300. There's some location shooting, which is a plus.
Marie: a True Story (1985). I thought I had done a full-length post on this one, but apparently not. Sissy Spacek stars as Marie Ragghinatti, a single mother who got a job in Tennessee's Parole Bureau, only to find that there was corruption going on as the governor was selling pardons to politically favored people. Marie tried to expose this, and of course the government (including her boss, played by Jeff Daniels who is pretty good here) goes after her. Fred Thompson plays Fred Thompson, the lawyer who took Marie's case in the wrongful-termination suit. (Yes, Thompson plays himself.)
Wednesday, March 22, 2017
It's only Wednesday, but I see TCM is running a new-to-me short, Week End in Hollywood, today a little following 1:30 PM, or just after Gaslight. This one was apparently originally produced back in the late 1940s as a tourist promotion to get people to visit the place, what with tourism becoming rather more common as the economy improved after World War II.
I don't think I've seen this one before. I've seen a whole bunch of shorts, and I know in some movies such as Bette Davis' The Star, there are scenes doing the the tour of actors' homes. But this title sounds unfamiliar to me, but the actual name and the brief IMDb synopsis.
Tuesday, March 21, 2017
If the introduction of the Production Code in 1934 affected anybody, Mae West would probably be near the top. A good example of this can be seen in Every Day's a Holiday. It's part of that nine-film box set I've mentioned a couple of times, so you should be able to pick up a copy fairly cheaply.
West plays Peaches O'Day, who is expected to show up in New York City on December 31, 1899 as the movie opens because she's got a repuation. Not that the police want her there, since she's somewhat of a con artist. Indeed, she sells the Brooklyn Bridge to Fritz (Herman Bing). Police Chief Quade (Lloyd Nolan) tells Capt. McCarey (Edmund Lowe) to arrest Peaches and makes certain McCarey has a warrant to do so.
Meanwhile, Peaches passes by Lamadou Graves (Charles Butterworth), who happens to be a butler but isn't letting that on. Graves invites Peaches to "his" house (really his boss' house of course), where a committe for clean government just happens to be meeting, led by Graves' boss Van Reighle Van Pelter Van Doon (Charles Winninger). Graves and Van Doon, like every other man in New York, is taken with Peaches' charm. Even McCarey is, as though even though he's supposedly an honest cop, he pays Fritz out of his own pocket so that there's no longer a charge against Peaches.
The political machine intends to run Quade for mayor, and the reform committee eventually gets the idea of running McCarey, but that comes later. McCarey finds Peaches and politely suggests she get out of town, which gives her, Graves, and her partner in crime Nifty an idea: pass her off as Mademoiselle Fifi, the great French actress and put her in a show. The show is a success, but of course McCarey recognizes Fifi (in a dark wig) as Peaches. Quade doesn't and starts a vendetta against Fifi when she doesn't want to meet him, which ultimately leads to McCarey's running for mayor.
I think the problem with Every Day's a Holiday is that it's all over the place. The plot swings wildly from the Peaches as con artist part to Fifi to the mayoral election, and I can't help but think a lot of that is due to having to obey the strictures of the Production Code. Crime isn't supposed to pay, and yet it does seem to pay for Peaches. I also found some of the humor a bit too over the top. But everybody gives it a good shot, which ultimately does make up for the movie's flaws. It's also very interesting to see a young Lloyd Nolan with hair. I saw his name in the opening credits, and didn't recognize him at first.
As I said in the opening, the Mae West box set I have this one on is cheap and has nine movies, some of which are better and are alone worth the price of admission. Every Day's a Holiday isn't bad, but it's not nearly as good as some of West's earlier stuff.
Monday, March 20, 2017
I think I posted some years back that there aren't that many classic movies with basketball scenes, mostly because basketball was invented later than football and baseball so it would have taken time for the sport to be enough a part of the culture to show up in movies. But with the big basketball tournament, known as "March Madness" being on now, some programmer at TCM decided to riff off of that with "March Malice".
Starting tonight in prime time and going straight through for five and a half days until the end of TCM Underground, TCM is running 64 movies, grouped into 32 double bills, each given a different theme, and all more or less in the area of villains. There's nothing mentioned about a guest host, so I'd assume it's Ben Mankiewicz, or possibly whoever this month's regular guest host is.
Tonight, for example, starts off with "Psycho Killers", which come at us in the form of Psycho (8:00 PM) followed by Peeping Tom (10:00 PM). Of course, some of the pairings seem a bit similar, such as "Aliens Among Us" and "Space Monsters". But that's a quibble. I've always kind of liked the idea of double-bills in terms of TCM programming, since it's a lot easier to come up with just two films that fit a creative theme, and because there's a natural time slot for them on Sunday evenings just before Silent Sunday Nights.
There's nothing really new in terms of the movies running, but a lot that's worth watching especially if you haven't seen it before.
Posted by Ted S. (Just a Cineast) at 5:19 AM
Sunday, March 19, 2017
Back in 2008, I made mention of ho Alfred Hitchcock made two short films with exiled French actors in London during World War II. Aventure Malgache was on at that time; the other one, Bon Voyage, wasn't, and I wouldn't get to mention it again until last October.
Now, they're both on the TCM schedule. Aventure Malgache is showing up tomorrow morning at 6:00 AM, while Bon Voyage will be on tomorrow afternoon at 1:30 PM. They did get released to DVD at one point, but that DVD is out of print. They deserve another release, either together on one standalone DVD or as an extra somewhere else. But I have no idea what the rights situation is with these.
Posted by Ted S. (Just a Cineast) at 8:10 AM
Saturday, March 18, 2017
The low-budget B movie Alaska Passage is coming up on FXM Retro again tomorrow at 4:45 AM and again on Monday at 7:25 AM, so I made it a point to watch the copy on my DVR to be able to do a full-length post on it.
The movie starts off with an opening title card that mentions it's in "Regalscope", although of course FXM are running this one panned and scanned down to 4:3. After the credits, full of a bunch of names you've probably never heard of, we get a brief scene that would have fit in a Traveltalks short if it were in color and made over at MGM. US Secretary of State William Seward purchased Alaska from Russia in 1867 and, as the movie opens, it's recently become the 49th state. Alaska isn't contiguous with the rest of the US, which wasn't that big a deal until World War II, when the US was worried about the sealanes getting cut off, at which point a road connection was deemed vital. So the US and Canada got together and made what would become the Alaska Highway, stretching well over 1,000 miles from eastern British Columbia through Yukon and eventually to just southeast of Fairbanks Alaska. (I'm not giving the exact length because many curvy sections have been straightened out over the years, reducing the length of the highway.)
A documentary about the building of the highway would be interesting, but of course that's not what we get. Al (Bill Williams) runs the local business side of Northern Transport in Alaska, often driving the trucks as well. He's currently on a run with Pete (Nick Dennis), who for whatever reason has a Greek accent. On this trip, an airplane pilot helpfully informs them that the road ahead has been washed out by the spring thaws and snowmelt runoff. So, on the way back to their base in Tanana, they run across... a hitchhiker! Really. Her name is Tina (Nora Hayden), and somebody down in Washington state had offered her a job in Fairbanks, but he was enough of a jerk that she ran off. Tanana is short of women, especially ones as good-looking as Tina, so she'll have no problem getting a job.
Also back in Tanana, Mason (Leslie Bradley) is waiting for Al. He's the lower-48 half of Northern Transport, the one with the capital but not the know-how. He claims to be fair, although he seems way, way, too obsesed with the bottom line, not realizing that often local goodwill trumps what would be "good" business practices down in the 48. Part of the conflict involves Mason's disputes with Al (who has the know-how but not the capital) over how to run the business.
And then Mrs. Mason shows up. It turns out that she used to be Al's girlfriend, and she still has the hots for him, although the feeling may not be mutual. She's also trying to use her position to get a better financial state for the business, but for which partner? Tina, meanwhile, had been falling for Al, and she's not happy about anything that's going on with Mrs. Mason.
Alaska Passage is an ultra-low budget movie, but as far as such movies go, it's not that bad. Oh, don't get me wrong, it's nowhere near as good as the traditional studios' prestige movies, or even many of their programmers. But when you think extremely low budget and a cast of nobody's, you expect the worst. You don't get that. There's a fair deal of wooden acting, and a plot that meanders for 50 minutes before rushing to a climax in the last 20. But overall it does just about work. Just don't set your expectations very high.
Alaska Passage is, as far as I know, not avaiable on DVD, and wouldn't be worth it if Fox only releases the pan-and-scan version. So you'll have to catch the FXM showing.
Posted by Ted S. (Just a Cineast) at 2:06 PM
Friday, March 17, 2017
As you probably know, long-time TCM host Robert Osborne died last week aged 84. TCM is going to be doing its programming tribute to him this weekend, with a full 48 hours of Osborne related stuff, from 6:00 AM tomorrow to 6:00 AM Monday. For better or worse, there's a lot of stuff that's getting repeated.
If you want to see the Private Screenings interview where Osborne was the interviewee, and Alec Baldwin was asking the questions, you're in luck. It's kicking off the tribute tomorrow morning at 6:00 AM, and will be on again at 8:00 PM Saturday, among other times. There's also the 20th anniversary salute to him, done I think at the TCM Film Festival in 2014 and hosted by Alex Trebek; that one will be on at 9:00 AM tomorrow and again at 4:15 PM.
Having said that, IMDb claims that there were 28 Private Screenings done, although they don't give an episode guide. Wikipedia claims 27, although they don't mention the one in which Osborne was the interviewee. Looking through the weekend schedule, however, there are only six (including the one with Osborne as the subject) getting shown:
There are so many more TCM could have dug out, assuming movie rights aren't an issue (and I don't see why they should be when it comes to re-running these). I wouldn't mind seeing the one with Mickey Rooney, or the one with Charlton Heston, again. But nope, just the five stars and Osborne.
TCM is showing most if not all of the program-length interviews Osborne did at the TCM Film Festival throughout the weekend, however, which at least is a bit of solace.
Posted by Ted S. (Just a Cineast) at 3:27 PM