Tuesday, April 30, 2013

"K-9000" (1991)

A bit of a "lame" movie, yet this one has enough "hmm" in it to keep watching.  The special effects and computer scenery is a bit melodramatic--which goes along with the "lame" part--and makes it feel very 80s.  The "blood and guts" was a bit melodramatic too--and maybe some surprising since it is a TV movie.  Overall, I ended up watching the whole thing (though I did debate with myself part way through), but it come up to "eh".  I suppose that's what I get for listening too close to the one line description of the plot--yeah, that set up different expectations for the movie than what I actually got delivered.

Sunday, April 28, 2013

"Thou Shalt Laugh" (2006)

A line-up of Christian stand-up comedians. Started strong and ended well. I laughed at Thor Ramsey. I really laughed both at Jeff Allen and the audience involvement Taylor Mason did. The rest were fine, but those were the ones I enjoyed the most.

"Captain America: The First Avenger" (2011)

Likeable hero.  Nice moment when Captain America was sitting outside a tent at his first(?) front line/field show.  Likeable hero.  Movie just misses what I like for in a 5-star movie (which is hard to find), but it's really not a bad picture.

"Boy Wonder" (2010)

Wow.  Some story.  A good-bad protagonist.  I thought there were plenty twists to keep you wondering what's next.  I certainly didn't see the ending coming, yet knew exactly what happened when the ending came, because all the pieces were there, carefully laid out in the telling of the story.  Brief flip-clips of here's what I see/here's what really is happening--super brief.

"M" (1931)

German.  While the crime perpetrated is quite serious--and the film treats it so--there are humorous moments in this film and it is quite fascinating to watch.  Keep in mind this isn't slapstick or anything obvious like that.  It's quite buried.  Quite.  But it's there.  Irony, for sure.  [Maybe that's my sense of humor.  Irony?]  Definitely an academic humor sparsely scattered in the [social? society?] commentary--subtle and not so subtle--on the things the movie touches on.  And the sound--"the killer's distinctive whistled tune" is all my film history book says--they leave out the best part!  It's "In the Hall of the Mountain King"--How many layers that adds to things!!!!  And the other sounds--definitely on the "create art" side of things instead of atmosphere.  Oh, and there's visual irony, too.  Definitely.

"Vampyr" (1932)

An interesting watch.  Storyline is in the spirit of "Legend of Sleepy Hollow"--at least the start of the movie and the end of the book.  Music is great--especially the string bass--a mix of "In the Hall of the Mountain King" and romantic-Berlioz--again in the spirit of, not similar in sounds to.  Almost entirely string sounds, though there was one place with brass horns, and one stringed ... banjo?  That doesn't fit for Germany--but that is the closest I could come up with.  Sounded like a banjo, looked the same shape except it seemed all wooden--like a round bodied ukelele.  Enough similarity to later vampire stuff (which of course, probably built on this), that you think you know what's coming; yet, different enough that you find yourself going, "What are they doing now?" [Yeah, I know that was in 2nd person.]  It's, of course, slower--doesn't have the fast pacing of current day, but it's not badly paced--and it's only an hour and 15 min. long.  Great early special effects--camera tricks and early basic editing.  It's a visual quality that today's CGI don't mimic; it's a nice quality of its own.  You "gotta" watch the shadows.  In German, English subtitles.  Though, I'm not so sure there wasn't at least one French scene.  (The original English version is lost.  So, this is a restored version.)  Not bad.  Almost "amusing", but even I caught myself holding my breath at one point (briefly), and keenly interested to see how things would resolve.

"The Lord of the Rings: The Two Towers" (2002)


Very nice.  Pleased.

It's an adaptation--cut it some slack.

"The Lord of the Rings: The Fellowship of the Ring" (2001)


Very Nice. big smile. Very nice adaptation.

Is it true that the best movies need few words said? They are movies that defend themselves. More bluster does little to enhance what speaks so well for themselves. For only experiencing them, does them any justice. It is only those in the class below that need the bluster of Apologia.

"Man with a Movie Camera" (1929)

Soviet montage. Visually, I kind of liked watching this. Wouldn't mind watching the visual part again sometime--maybe not right away. (Though I wouldn't watch this with young kids, and maybe not even young teenagers, without previewing it first!). Audio-wise, I couldn't tell if the sound was original to the film or not--I could do without the sound track. Music minimalism. I thought about muting the sound half way through the movie, but I couldn't imagine the movie as silent either because the music was kind of integral to the feel of the thing. Part of the time it was minimalist music that reminded me of the honky jazz style that plays in the alto saxophone's altissimo register (can't remember which song and jazz musician does that that I'm thinking of), except it was more of a tenor saxophone playing in it's low register. All of the sound track was definitely 20th century art music. And while most of the movie is okay, yeah, no young kids for those couple scenes, unless you want to answer questions you weren't intending to answer for a least another decade or so.

"Hansel & Gretel: Warriors of Witchcraft" (2013)

teen-flick, "B-Movie".  enough curiosity in the storyline to watch all of it, not much else to recommend of it except the 2 good-guy leads were attractive/nice looking.  And I'm intrigued by an actor's first name being "BOOBOO".  Otherwise, this movie:  eh.

"The Dead Man Who Killed" (1913)

Fantomas is the recurring villian in this silent movie series.  The story is in the  spirit of Sherlock Holmes or the old Batman TV series; better yet, it's a mix of the two.  Hard telling if the music is original or a close imitation, but it's just as interesting.  Even though this is a silent movie, the storyline is quality and well worth watching.

"Steamboat Willie" (1928)


"Vintage Mickey" (1929--Netflix catalog) A collection of early Mickey films including:  "Steamboat Willie" (1928) First cartoon with original sound, "Plane Crazy"--First Micky cartoon produced.  First Micky & Minnie Mouse appearances. (1928), "The Karnival Kid" (1929)--First cartoon where Mickey speaks, "The Birthday Party" (1931), "The Castaway" (1931), "Mickey's Orphans" (1931), "Mickey's Revue" (1932)--First appearance of Goofy, "Building a Building" (1933), and "Mickey's Steam Roller" (1934).  I can see the "mostly music" cartoon style.  It still is from a very different time (obviously) with some humor that I wouldn't have seen in my childhood.  Then there's some of the cultural differences:  spittoons, girdles, how the door bells apparently worked, out houses, "button me up" underwear, box lunches (for 15c, no less), steam rollers, and of course, a horse's collar.  And, yeah, some of the humor raised my eyebrows--didn't drop my jaw--but did raise my eyebrows, probably mostly because now there are slightly different ideas about what a "cartoon" is--or maybe it's not that it's a cartoon, but the humor was different.  The music is definitely vaudeville influenced.  Seems also a mix of city and country influences--okay so it was a mix, but it seemed more of the country than what you see today.  Or that may just be my perception again.  All the sounds seemed to be in the higher pitched ranges of things.  Only the gorilla playing the piano in "The Castaway" seemed to play lower notes.  Or maybe it's not higher pitch but squeakier tones in general.

Or I could be tired and out of practice.

"Charlie St. Cloud" (2010)

It's okay.  Sorry.  Love stories sometimes have a hard sell to me.  That's why I have only 2 of them on my shelves--and both of them are more for other reasons than as a love story.  Anyways--decent adaptation.  Might be interesting to see if I would've thought any different about it if I'd seen the movie first.  Unfortunately, that's one thing you can't test out both ways.  They did pretty good with the adaptation.  Guess I don't have much more to say about that.

"Amazing Love" (2012)

Works in a speculated story of Hosea. A tiny bit of decision theology in there, but it's very small. Well done, I thought, and kind of what I needed tonight ... a new version of the same truths: God loves us/me a lot.

"Thor" (2011)

Liked it. Yep. 4 out of 5 stars.

"Peeping Tom" (1960)


A well-done creepy film. Creepy. But, well-done. We can safely say that I'll probably not specialize in psychological thrillers/horror movies such as this one. I will say the sound choices were as much a plot element of the film as anything else. Definitely not invisible sound. Piano, plain and simple, but very pronounced. Latin music from a recording played live on film. Not only is there a camera man filming a mad camera man filming other camera operators, but a sound man recording the sound of a recording--okay not as many layers as the camera, but the same levels are implied and exist along side the camera bits. It's still a creepy film.

Creepy along the same lines as the German film ''The Testament of Dr. Mabuse".

"A Nous la Liberte'" (1931)


I'm afraid I'm listening to this with too modern of a set of ears to hear the novelty of what was going on with sound with this movie.  Nevertheless, I thoroughly enjoyed this one.  In my opinion, the plot isn't as predictable as many movies are--and it's not a mystery movie either.  It's a light-hearted movie; I wouldn't call it a musical, but it's not far from it.  I did catch at least one musical joke that prompted me to laugh out loud (the dinner entertainment).  This movie is also in the same spirit as Chaplin's "Modern Times".  There is some social critique going on, but it doesn't make for somber movie-viewing.  French film.

Upon thinking further:  I think the fact that the factory is a phonograph factory and that this is an early sound film is intended to speak something really loudly.

"Le Million" (1931)

an absurd, but funny/amusing, surrealist French comedy.  Even the sound contributed to the surrealism.  It intro'd the beginning with the ending, so that the rest of it was how it got from one end to the other and "turned out all right".  Definitely used up a chunk of my suspense rations watching it, but that was mostly all right.  It was also a musical--a few of the pieces were operatic; they were a nice touch.  The movie is worth the watch.

"Spartacus" (1960)


I like the beginning of this movie. (It's a 3+ hr. movie.) Lots of featured French horn sounds (not surprised). I cheated and read a synopsis of the ending. So, likely won't watch it all the way to the ending, because I'm in the mood tonight for a happy ending--and I'm also not in the mood to see a "slaughter of thousands" and mixed mood ending. So, I'm going to stop after one of the high points and call it good.

 I did sneak a peek through a few other scenes within the last hour, and a few seconds of the ending.  I still call it a good movie, even though I didn't watch most of the last hour.

"The Diary of Anne Frank" (1959)

Filmed in the actual location (I think it said). Black & White. Well done. Did watch the first 2 hours, but didn't have time to watch the last hour--so jumped to the last 5 -10 minutes to finish it out.

"Gigi" (1958)

A delightful Lerner & Loewe musical. While the story is set in 1900, the fact the movie happens in the late 50s adds an interesting extra twist. But analytics aside, it's an enjoyable musical, with pleasant lovely songs and delightful to look at. Songs include "Ah, yes, I remember it well".

"X-Men Origins: Wolverine" (2009)

Yeah, I like "superhero" movies. :)

"The Old Man and the Sea" (1958)


Once again I ended up watching the movie before reading the book/story (Hemingway), so once again I can't speak to the adaptation. I will say that after an hour and a half of watching that old man on the sea, my laptop is now moving like the ocean. I will also say that assuming "The Old Man and the Sea" would be written in the same Hemingway style as "The Sun Also Rises", then the use of a voiceover narrator was a good choice; it helped to create the same close distance as his writing style. Music (which is what won the Oscar)--when you think of horses running, you will bring music to mind, or scaling a mountain or flying on a bird. But fighting a fish? Indeed, what music do you compose for that? Dimitri Tiomkin, composer. Early on, and over the credits, there is singing like a cowboy ballad, but I couldn't make out what language--and I'm not sure it matters (adds to the affect). Most of the rest was "movie music" but it was integral enough that when the planned silences came, you noticed. Overall, interesting...as in thoughtful.

I have to add since then, the old man's "I'm sorry fish." has plunked itself down in the middle of my brain. It's not a bad thing, but definitely not one that will be passed over.

"Vertigo" (1958)

Alfred Hitchcock. I continue to see why Hitchcock movies are written about, and why a person can write about their music/sound, and with this one in particular, about girls looking at guys looking at girls on a screen with more guys and girls looking. Music by Bernard Hermann. Leading man, James Stewart.

"Love Is a Many-Splendored Thing" (1955)

I've long been familiar with the song. So it was interesting to watch the movie it was from. I never would have imagined that it was a movie with such strong ties to Asia, and a few small ties to the Korean War. Undercurrents of questions about mixed race in this story of a love affair. Oscar for music--and music by Alfred Newman, of course--masterfully mixes western and Hollywood music practices with Asian music/sounds--and always the song as the on-going love theme. Only in the last minutes or two of the movie does the song get words. Doesn't come out and pose any answers to the mixed-race-love question, just asks it. If you like romance/love affair movies, it's worth a watch.

"The Bridge on the River Kwai" (1957)


I gave the movie a solid shake--and can tell the movie was done well. The problem is I have personal issues with war movies--realistic war movies. I put the movie on pause and read an only synopsis--yep, this is not a movie I can handle at this time, not even in fast forward.

Given all that--POW whistling "Colonel Bogey" is surreal--which is part of the point.

"Around the World in Eighty Days" (1956)

I can't speak to the adaptation part--partly because I haven't finished reading the book, partly because the part I have read has been so long ago, I remember very little of it. 4 1/2 hour movie--partly due to adapting a novel, partly because they took the opportunity to have mini-travelogues--scenery, music, and culture snapshots of their travels and encounters. The movie seems well-done to me. Cinematography--seems the movie--especially the opening shots were meant for curved projection screen. I didn't notice that so much as the movie went on, but seeing what normally would be straight lines (columns, walls) curve into the center was slightly disconcerting. Tricky camera shots with a bull, and few "hmm, interesting place to mount a camera" shots, and beautiful scenery, of course. Music--Very overture-ish all the way through--when it wasn't doing "local color". Don't get me wrong, it was well-done--it was just very present. The credits: What a fun way to do credits! That was nice. I also hadn't realized there were so many cameo appearances--mostly because I didn't know most of the celebrities. I caught a couple--Victor McLaglen (though, I had to look up his name--"guy from 'The Informer'"), Frank Sinatra--but there were a bunch. A person in the know could play a regular "I spy" with this film--they'd have lots of fun surprises. Color film--and fun to watch in color at that.

"Somebody Up There Likes Me" (1956)


Turns out to be a boxing movie. After some of my previous "I'm not crazy about this" experiences with previous boxing movies, I was skeptical about this one. Turns out, this one was actually quite good. About a boxer named Rocky Graziano. Good movie. And more going on than just "Can he win the top championship?" and the other story line ain't love/romance--which is also a nice change (that that there aren't smidges of that too; after all, it's a "biopic"). Movie starts and end with a Perry Como song--only music forefronted; Not sure about the rest--which means it was either skillfully invisible, or wasn't there. I suspect it's the first one. Yeah, I'd recommend this--I'd even watch it again--and for me about a boxing movie, that's saying something. Paul Newman starts as Rocky. Black and white picture.

Maybe cinematography Oscar for all the punches at the camera/fight close-ups???

"All That Heaven Allows" (1955)

Rock Hudson. Challenges 50s ideas. Set in it's own present day. Good visual symbolic/symbolic inclusions . Tie ins to Thoreau's Walden. Netflix description also clued into the use of "expressionistic colors"--yep. Early parts of the movie used Chopin preludes--a nice ambiguous, melancholy mirror to what was going on. No Chopin in the middle and later parts of the movie. And the mill/house? I want live in that.  Some obvious but clear use of lighting--the darkly lit scene in the conversation between mother and son, for example.

"The King's Speech" (2010)

Very well done; captivating to watch. Definitely a movie I wouldn't mind rewatching.

"To Catch a Thief" (1955)

Alfred Hitchcock.  Cary Grant.  Grace Kelly.  There's a reason Hitchcock is so well known--if the action slows down or a scene needs to be slow, he gives you subtle things to look at.  THAT's the way it should be done.  And at least some of the shots that likely contributed to the cinematography Oscar is likely the same shots that reminded me of visiting the Incredidome at Worlds of Fun--wheee-uuu!!!  Oh, and nice image/romance scene splicing.  Yeah, and nice intriguing touches with some of the music/sound.  Well done.  Hitchcock's scene of significance? (aka his appearance)  I spotted (at least I think I did), but I didn't figure it out.

"Picnic" (1955)

Set in then present day.  Slow pacing--at least compared to my tastes.  1950s romance issues, that is, "Is it better to be pretty and dumb?  or smart and not-so pretty?" in a context of getting a boy/getting married before you become an old-maid.  I stopped watching after 40 minutes.

"The High and Mighty" (1954)

The movie introduction called this the first disaster film (movie about a disaster, not a movie that was a disaster). John Wayne. Proof of the power of a simple yet catchy melody motif. Interesting enough movie to watch. Interesting enough. Did I mention the melody was catchy? The intro said that later the melody was made into a radio? song. I can see why. Because it's pretty and it's catchy. :)

"The Chronicles of Narnia: Prince Caspian" (2008)

I sent for this movie as a Christmas break treat. :D Very much enjoyed it. Just what was needed. Filmed in 4 countries. I enjoyed it. I liked it. I can repeat that a few more times, if you like. I'm a sucker for C. S. Lewis's Chronicles of Narnia. :)

"Carousel" (1956)

Rodgers and Hammerstein musical. Very nice dance numbers. Cock-a-may-mie ideas about how to respond to domestic violence--uhm, yeah. This is the musical with the song "When you walk through a storm, hold your head up high".

"Meshes of the Afternoon" (1943)

Sound (mostly) not from within film; black and white. My book calls "American avant-garde" and "psychodrama". Yeah, those fit. SPOILER ALERT: Perhaps also schizophrenic encounters herself, or what happens when bad dreams come to life. And, may I say, when a knife falls by itself out of a loaf of bread from an odd angle, that that's some bit of foreshadowing/omen.

"Call Me Madam" (1953)

First, a clarification: I don't see any fault with the singing, dancing, plot of this musical. If you enjoy the dance sequences in musicals, this are just fine. The leading lady, Ethel Merman, I'm sure is quite well known and in fine form. I did enjoy George Sanders singing, Donald O'Connor's singing and dancing and the sets. However: There's only one way I can think to explain the "However" part. In theater, I remember being taught when you are directing comedy, if you try to be funny, then often you take away the humor. To get the humor out, often you can't do it deliberately. The situation or line is funny enough as is without you Trying to be funny. This concept is my "however" to the movie--they're "trying to be funny"; only I'm not talking about the musical's light-hearted moments. They're "trying to do a musical"--it's like they're trying too hard. It's an Irving Berlin musical--which some how seems to be out of place--or they're trying too hard. Maybe trying to keep "what has always worked in the past" going after a point when things needed to change. Again, other than this between-the-lines quality, I have no fault with the movie. Okay, maybe I didn't quite care for Ethel Merman's vocal qualities--a little hard line for my taste--but that's likely more a personal preference than any fault. Cute story, otherwise--maybe make a good high school musical.

"Seven Brides for Seven Brothers" (1954)


Much more well known. Cute movie/musical. Being a French horn player, I was tuned into their use of horns and strings (strings--easy to listen to, horns--wide open places). I don't know that it was a favored use of those sounds; I think I'm just biased and tuned in to horn sounds. And I can see why this musical would be found among high school/college productions. Again, cute musical.

I half expected the "Buttons and Bows" song to be sung in it because the actor who played the lead of Adam had a voice that sure sounded like it would start belting that song.

"With a Song in My Heart" (1952)

If you like 40s music, especially 40s female solo singers, then this is a "must." A musical biography of music singer Jane Froman. I'd not ever heard of this musical, and I didn't recognize the singer's name (for shame she's not mentioned more!), but this contralto is a sound that is surely a recognized part of the 40s. Susan Hayward's dresses (who played her) in the movie are lovely. And near the end, I had to stop the movie TWICE (sniff, sniff) for absolutely touching, beautiful moments. USO singer during WWII; sang "injured". From Clinton, Missouri (how have I never heard of her before?).

"20,000 Leagues Under the Sea" (1954)

Slow story, but part of that is because a significant part of the story is philosophical--the idea that if mankind just had the right location, the right structure, right set up, could just start over, then peace could be had or a perfect society. However, mankind is sinful, so such could never happen, not even with the right set-up. I've not ever read the book, so I can't speak to the adaptation. Walt Disney. Decent under water color photography. Kirk Douglas. Decent movie.

"On the Waterfront" (1954)


Am Watching an edited version--that means, I watched the 1st 40 minutes and fast forwarded through the rest. Never mind that it won a slew of awards and stars a young Marlon Brando, it apparently isn't my kind of movie (love story--decent girl falls for a mob boy, um, sure). Best part so far is that the music is by Leonard Bernstein. Music isn't used for long stretches of time--lots of silence--but when it does pop in you can hear traces of Bernstein's characteristics in it. This is 3 years before "West Side Story". The opening scene's music was quite interesting. Otherwise, the music seems to be more of a transitional device--maybe?

After fast-forwarding through the middle, I watched the ending. Yeah, the music is the most interesting part of the movie. Makes the movie. The rest, sorry, just doesn't grab me. I can see from what I watched why it got such acclaim; it has that flavor to it.

So, if any music person needs a movie to analyze compositionally, this movie is a good bet.  Oh, and I'm sure a Marxist criticism would work well with this movie, too.

"Sergeant York" (1941)

This was a movie that was a "very long wait" on my Netflix list and I just now finally got it. Boy was it worth the wait. Again, I don't rate many movies the highest marks, but this is one of them. Paints a real clear picture of an Appalachian fella who (later in the movie) gets drafted into WWI. Gary Cooper stars. Love the clear set up in the first half of the movie. Love the crossing of cultures, all too brief as it may be, in the later part of the movie. If a movie is going to keep me up thinking about it and mulling over the good parts, that not only commends much to the movie, but leaves me wordless. That's what this movie done.

"From Here to Eternity" (1953)


SPOILER ALERT: While not a plot that is "unique" (every plot's been "done before"), it's not real predictable to see where the plot is going to go--other than an attack on Pearl Harbor--which since it's a "pre-attack" film, you "know" that that is going to end up being included. The ending was logical (that is, carrying out how things probably would go), not a happy ending, but logical. It was interesting watching a Hawaii movie in black & white at a time when they could've chosen to shoot it in color. While love is certainly a theme, it's not limited to only Romantic love--or even family love. Love as in loyalty seems to be more of the film's study. Frank Sinatra was in the cast, but didn't do any singing. Very nice jazz/blues trumpet playing by the lead character. One or two very nice transitions from one scene to the next--but I wonder if it is a "nice transition" if you notice it. The Pearl Harbor attack was certainly a piece of the plot, but it was not a central piece--more of a background piece. High marks for interesting story/movie; medium marks for ending; low marks for "how I liked the ending"--it's a concept study movie, though very subtle, not a movie to entertain. Loyalty love, that's the concept.  I have no idea what the title means or how it fits with the movie.

Informed later:  from the poem "Gentlemen Rankers" by Rudyard Kipling.  Fitting--but would take some more study to dig everything out.

"Julius Caesar" (1953)

Shakespeare. Excellent as always. Compared to earlier black and whites, the ghost shows some of the advances (or preservation) in film detail/clarity in special effects. Also, the movie also improves on just script reading when it comes to fight scenes (obviously) since you can see what's going on in the film. Miklos Rosza music--first entrance scene flashes back to 30s spectacle films (but film doesn't dwell there) and Romantic-style music (what else ya gonna do?).

"Pickup on South Street" (1953)

Black and white. A pretty decent movie if you like something a little less predictable than many. I was satisfied with the ending. The main attraction is plot. Music (e.g. sexy jazz saxophone music) almost absolutely necessary to help interpret how to view some of the scenes. Definitely an exercise in "who am I rooting for?", but not if you think too deeply about it. SPOILER ALERT: Not often you have both the good and the "bad guys" win in a movie.

"Gentlemen Prefer Blondes" (1953)

I'd watched this movie before, but it had been awhile and I only remembered snitches of it; but, it was also nice to re-watch it having since read the book. Marilyn Monroe (of course). A musical--"Diamonds are a Girls' Best Friend" being the well-known number, but the other numbers we equally as enjoyable.  Yes, it was nice spotting touches of the book in the movie.

"High Noon" (1952)

One of the benefits/"learnin's" happening from watching these more "pop" natured films: I had no idea that there were so many social dynamics and social commentary that these westerns did. Or maybe it's just the good ones (I better qualify that). An early allusion in the film to an instance from the history of ancient Greece as a predictive prelude to where the story is going to go. You watch, ignoring it, hoping against it, and disbelieving it when it holds true. wow. Western ballad telling the tale, used as the opening credits music and throughout the movie within it is a ballad sung by Tex Ritter using thumps on an acoustic guitar (I'm assuming), his singing, and a harmonica. The impression left is that's it, but there is other music used (a few well placed strings, for example). Black and white. Stars Gary Cooper. Will have to remember to give westerns mentally more academic credit. I won't give away the ending here, but I liked it. Fitting.

"Moulin Rouge" (1952)

Zsa Zsa Gabor in a supporting role and sings a couple of songs. The costumes in this color film are what are most interesting and worth watching the movie for. I also enjoyed the couple montages included that flashed different paintings/sketches of Toulouse's supported only by music--even back and forth between the same paintings, suggesting even more of a dance. I liked it--and glad it turned out to be more than what I thought.

"The Revenge of a Kinematograph Cameraman" (1912)

Movie: "The Cameraman's Revenge" or "The Revenge of the Kinematograph Cameraman" (1912). [available on Youtube] Early animation with puppetry (they're bugs)--this would be done in "Clamation-style" except I doubt it was clay--and it was in 1912--very different cameras. And, yes, it was captivating to watch. 13 minutes long. Very nice. :)

"The Quiet Man" (1952)

Should be called "John Wayne Goes to Ireland" with a love story thrown in.  Couple of times it would've been nice to be able to understand either Irish or Irish expressions, but this was minimal overall.  Not surprisingly, "Irish Washerwoman" was a recurring theme--with other Irish drinking songs mixed in, of course.  The lead/supporting male opposite John Wayne was the same actor as showed up in the black and white "The Informer" (Victor McLaglen).  As for picking/writing a story so they had a reason to shoot a color film of Ireland, the story wasn't bad.  Kept me watching well enough.

"The Bad and the Beautiful" (1952)

Kirk Douglas.  Lana Turner.  Reaction to first half hour:  "eh.  Frame story.  How exciting can you get."  Yet, I kept watching.  Reaction to ending (out loud):  "You're kidding."  [no exclamation point]  May be a reason I've never heard this picture mentioned.  Not sure how I would categorize the story (besides frame story, that is) ... maybe "Monday".  If the idea of "It must be Monday" was a movie category, this movie would fit it.

"Beastly" (2011)

You want to know what storylines I do like? You want to know what actually gets 5 stars from me meaning I will watch it multiple times? This movie qualifies. I don't know that I would give it a story-swoon ranking, but this movie heads in the right direction. Undercurrent Identity themes (a must). The movie is a modern retelling of Beauty and the Beast--high school setting, sorta. A witch has a minor character, major story figure--but that magic is the only exception to the "real life" setting. Kinks--leading guy is rich so could avoid a lot of stuff; however, Beauty and the Beast fairy tale is set mostly in a castle--so in that sense, it works.

"Singin' in the Rain" (1952)


Gene Kelly. Debbie Reynolds. Gene Kelly again brings unique dance numbers to the film. As many others know and love, I quite enjoyed the dance number in the rain to "Singin' in the Rain". The storyline itself is pretty much a repeat of other musicals/theater-stars-making-it movies. Kelly's dance routines and Donald O'Connor's physical humor are the main unique qualities. Story, once again, set in 1900s - 1920s, however, does include the cross over into sound. I bet the sound and script people had fun with the first premier w/ sound issues bit.

Now I want to see the ice skating copy of this number by (Butano?).

"Annie Get Your Gun" (1950)

Betty Hutton (as Annie Oakley) is quite the animated character. Trying not to read too much into it culturally speaking (backwoods culture, Native Americans, gender roles), but that's also kind of hard to ignore in this musical. Irving Berlin music with quite a few well-known tunes including "Anything You Can Do, I Can Do Better", "No Business Like Show Business" and "Doin' What Comes Nat'chur-ly". It's kind of like a transition piece--traces of the musical revue from the 30s, show business musicals from the 40s, but 50s humor (I guess that's what you'd call that element.). The intro to the DVD said that Judy Garland was originally supposed to star in it--they did 2 numbers with her, but then had to replace her. The intro also called Betty Hutton a well-known "comedian". Huh.

"A Place in the Sun" (1951)

The movie has been sitting here for 3 weeks, so tonight I put it in despite still being mentally skeptical of it. I ended up having to employ my brother's "40-minute" rule. The movie is based off of a novel called "An American Tragedy" which didn't encourage me any for watching the movie. After 40 minutes, I felt like I was watching "The Grapes of Wrath"--and I've never seen that movie or read that book, but that's the phrase that kept in my mind. Slow beginning and nothing story wise to keep me rooting for anyone or to keep me watching. I supposed the 3 academy awards were well merited, it's hard to say. I wasn't real excited. I recognized one of the minor characters (main character's mom) from other movies I've seen (Anne Revere?). Movie also stars Elizabeth Taylor.  Music by Franz Waxman.

"The Hound of the Baskervilles" (2002)

A very good adaptation. Excellent. Music uses some similar qualities to the music from Harry Potter to establish creepy, spooky. There's the standard hint of orchestra strings at just the right moment for atmosphere. One well-time match strike by Holmes in the editing. I like the character of Dr. Watson in this--actor and character--Much better than what I have in my head.

"An American in Paris" (1951)

As in "An American in Paris". As in George Gershwin. George Gershwin. And it's a Gene Kelly film. George Gershwin music and Gene Kelly dancing. Either one of those names is reason enough to watch this movie and this movie has both of them. Only thing that could be better is if I knew French. I hope Gene Kelly was as magical off the stage in interacting with kids as he is on stage/screen. If he's not, I don't want to know.

"King Solomon's Mines" (1950)

At the beginning of this movie I was skeptical--it seemed to me to be a "What can we do to get to fill lots of cool African animals and native cultures while throwing in a not so impressive storyline" movie; but the storyline grew on me. That made the "cool scenery shots" okay, because they went with the story. So, Color movie of African animals and a few African tribes. Storyline is fine. I don't recall any Western music underlining anything--I think it was all native sounds and native songs. Not bad. And if you want to watch just for the animals and scenery, then it's worth it.

"Sunset Blvd." (1950)

Black and white. [SPOILER ALERT] Black and white actress Norma Desmond takes over a nobody writer's life. The first hour and half, the story is remarkably the a same as "Leave Her to Heaven" (movie from 5 years earlier), plot-wise, except I couldn't stand "Leave Her to Heaven", and "Sunset Boulevard" I was quite taken in to. Quite enjoyed it, I think. I like it the more I think about it... I think. Ending was slightly different--and it wasn't a "happy" ending, except you were mostly okay with it because the previewed in the first scene of the movie. Voiceover--Dragnet/Jack Webb style--which is ironic because Jack Webb stars as one of the minor characters. The description on the jacket does call it "classic noir"--so, if "noir" means the "boy" doesn't get "the girl" or that the ending isn't a "win" for anyone, then yeah, it fits. Franz Waxman music--so a big name. Included the famous "Toccata and Fugue" on (aka "creepy house music") as on-stage music from a creepy organ. Dialogue makes a reference to "Great Expectations". And, yeah, I can see patterns there, too.

"The Third Man" (1949)

The description calls this a Film Noir. Orson Welles, actor. Adaptation from a novel. Black and white. I can see why this made the Criterion Collection. Cinematography Oscar--tilted camera angles, black and white photogenicness of war hit Vienna. The music puzzles me most--zither only--reminds me of something that should be for a comedy set in the Carribean. Musically puts this movie into the same class as "Convoy", meaning lots of puzzling "why this choice?" Wasn't as bad as the first film noir I saw. One actor you see early reminds me of the Grinch--face and smile; it was kind of distracting. SPOILER ALERT: Worth watching to get the context of this quote: "After all it's not that awful. Like the fella says, in Italy for 30 years under the Borgias they had warfare, terror, murder, and bloodshed, but they produced Michelangelo, Leonardo da Vinci, and the Renaissance. In Switzerland they had brotherly love - they had 500 years of democracy and peace, and what did that produce? The cuckoo clock."

"On the Town" (1949)

Frank Sinatra and Gene Kelly--another sailor movie, only this time there were 3 sailors instead of two. Leonard Bernstein did the music--and it sure showed it. To me, Bernstein music always sounds like it would be a lot of fun to play. Makes me envious. The collection songs seemed kind of strange, but then it was a fluffy musical, so what do you expect. I enjoyed the one they danced in a museum. Who wouldn't want to dance and play with a bunch of museum stuff. Not all the dance numbers were necessarily tap--one was ... modern?

"She Wore a Yellow Ribbon" (1949)

John Wayne western. Music was good. Scenery was pretty and wasn't at odds with the story line. Just a pleasant movie. (Actually what I needed today). Was trying to remember how open fifths got associated with Native Americans/Indians. Also interesting how much Southern references/confederacy shows up in Westerns. Shouldn't surprise me considering the time frame. Just something I've noticed.  Pretty good movie.

"Battleground" (1949)

A telling of the Battle of Bastogne (Battle of the Bulge??) from the ground inside one company (?).  Cinematography Oscar--it did have some nice shots.  The war montage at the end had simultaneous overlapped images--like a double exposure.  The storyline worked in nicely repeated lines within different contexts to give the movie added unity--Chants and careless tossed off remarks later get repeated with a whole different ring and meaning to them--sometimes as irony, sometimes as a tribute or truth.  And how the movie started (marching chant) is how it ended--again with a different ring and meaning to it.  The brief chaplain appearance happened to be Lutheran in character.  :)  Music was confined to opening and closing credits and to the occasional radio song (diegetic sound, if I'm learning my terms right).  The movie is 40s/50s war accurate in that the gruesome stuff is included but not shown or overly present--decent job of it.  Not a bad movie at all--kept me interested.  Black and white.  Opening credits said the "Screamin' Eagles" were appearing as themselves--I think this was a reference to the actual planes flown???

"Little Women" (1949)

This book was a childhood favorite, one that I read over and over numerous times. The 1994 adaptation was the first adaptation I saw--and it has its merits. However, this adaptation captures all of the "best parts" that I loved as a kid--all of them. I love the colors chosen for this adaptation and I love the selections they chose to include. And the parts that made me cry for joy when reading the book did the same for the movie. :) I have a movie that has hit the top score.

"The Heiress" (1949)


1st Half--Night 1:  Interesting in a puzzling way characters--but seeing as the movie is based on a Henry James novel, I probably shouldn't be surprised at all.  And likely if it is true to Henry James, I won't like the ending.  The music is very very good.  Reminiscent of Aaron Copland--some parts more than others--yet his sound keeps ringing within the movie scoring.  Considering I didn't like the one Henry James novel that I've read, I'm not real optimistic that I'm going to like the ending of a movie that is Henry James-esque.

2nd Half--Night 2:  I was right.  I didn't care for the ending.  Though I suppose if you were a misandrynist--or a Henry James fan, you might love the movie.  So, the movie music score was really good--and a study of the characters would give somebody a hey day.  I'm still not a Henry James fan.  I will admit this was a smidge better than "Portrait of a Lady", but not by much.  Based on his "Washington Square".  Rain to wash away the delusions was true to form.

"Late Spring" (1949)

Japanese movie. Post-war (so, current for the time filmed). A low-key movie without being slow. A relaxing movie without being boring. The phrase I read "The celebration of every day life" is apt. Also about how life heart-changes are tough. Music was very fitting. 2 short music phrases of "Here Comes the Bride" surprised me. A lot of marriage wisdom shared by the father to his daughter that I wish could be shouted loud. Bittersweet but true (as in straight). Had to pause movie once for tears so that I could keep reading the subtitles, but don't let that deter you. This is a movie I recommend.

"Easter Parade" (1948)

Fred Astaire. Judy Garland. Love Square. Do the guys get the girls they want and the girls settle? or do the girls get the guys they want and the guys settle? Music to dance numbers was just fine. One disconcerting moment--when the trio of extras are sitting in the back of Judy Garland's first vocal number miming the instrumentals, they were pretty close to doing it well. Why they didn't use REAL musicians instead of choosing to mime it is beyond me. What's more, you saw a regular trombone, but you heard a trombone with a mute in it. It is a bit disconcerting to hear one instrumented sound while watching a mimed different one. One lick in a later number had jazz timpani. The other female lead wore dogs with her dresses; she picked which pet dog to hold depending on the color of her outfit.

"Joan of Arc" (1948)

Not sure why the cinematography award--maybe because color pictures was still a scattered thing? Story line well done--although, I would've liked a trailer or tag or words or something to cover the fall out--but that's just my normal reaction. I'm sure the ending the chose was the best. Music actually was really good--but I'm also pretty partial to French horns and the music did a good job making use of them. I think they character acted this well.

"Hamlet" (1948)

Very interesting camera angles.  The visuals and camera angles would create quite the worthwhile study.  Low-tech special effects, but allow for the time period of movie creation.  Other than the heart beats and perhaps a bassoon to show sneaky and sinister, the music isn't anything "special".  Still pretty stagey in places in how some lines are delivered, but not as bad as the 1935 "Mid-summer Night's Dream".  In many other places, the delivery isn't bad.  Some of the monologues are done as voice overs and at times pretty seamless over into actual delivery.  Laurence Olivier--partially stylized delivery and melancholy character portrayal.  Hamlet and Ophelia both blonds--not quite my picture--although, I can see why for a black and white picture.  Only blonds in the whole cast.  All the more to seem out of sync with the picture in my head.  Castle is almost all arches and stairs, very little of textile texture in castle.  Costumes a different story.  Lots of texture there.

"The Red Shoes" (1948)

Tragedy. Ballet-Concert included--foreshadowing/parallel storying the ending. Different style of story telling. Lots of French. Stravinsky/Kronos Quartet kind of music. Didn't watch the last 45 minutes of the movie. Interesting set with the internal 'Red Shoes' Ballet.

"Body and Soul" (1947)


Review for first 40/45 minutes of the movie. This was a film editing award winner--and it is clearly evident why. The mother of the lead was the same actress who played the mother in "National Velvet". I could hear in the opening credits the musical clip of the song "Body and Soul" but the song wasn't in the start of the movie. Biggest reason for not finishing this movie: I'm tired. But doesn't look like a bad movie otherwise--just a "typical" boxing movie.

Oh, and this is a boxing movie. Started with the first part of a frame story. Makes me wonder, is it possibly to have any other story line for boxing movies--is that part of the definition? Underdog makes it to the top as champ, but is a lousy chump on the way. I am assuming some of this because of beginning of the frame. So, it seems to me that this movie would be quite similar to Kirk Douglas's boxing movie "Champion". Maybe that means "that's what's in a boxing movie"--and to not have those elements there would be like having a western without a gun fight. I'm guessing here. And I didn't watch the ending this time. So, I can't say what I think of that.

"The Jolson Story" (1946)

Most of this movie I had huge grins and thoroughly enjoyed it--early story had lots of "never been done before, but I'm doing it" story, lots of great music, the ending was bittersweet--but you shouldn't let that detract you from watching a great movie. A number of familiar songs, but I think most were maybe from early Bugs Bunny cartoons?? (where I knew them from). Blackface still seems really strange to me. Lots of people dynamics going on here. A lot of similarities to "Yankee Doodle Dandy" ("life" of George M. Cohan). So this was the "life" of Al Jolson (stage name).

"The Best Years of Our Lives" (1946)

Captivating movie. Well-written. The transition back to civilian life for 3 military men--one higher Major who society considers a nobody, one mid/lower Sargeant who points out the discrepancy with what would've happened if civilian rules would've applied to military situations, and one sailor who has to work through the social and romantic adjustments without having two hands. Hoagy Carmichael as Butch, a piano player. I actually saw about a minute of this movie from flipping channels--or maybe it was Dad flipping channels--a long time back. Black & white film shots. Long movie--nearly 3 hours. But very worth it--hooks ya pretty good.

"The Yearling" (1946)

Well, letting me off the hook last Thursday and not watching the whole movie has broken the chain of "stick it out." I think this movie probably is a fine movie. I was too tired to watch it last night and have too much on my mind today to settle in and watch it. So, I didn't watch the whole thing. I sat through the first half hour, and a couple of the later scenes that looked interesting. I can see why its color scenery and film shots won stuff--its nice movie to look at. Looks like maybe a decent family film. Not entirely sure of the definition, but might be considered a coming of age story/movie. Set in Florida aka deep in the wilderness. Gregory Peck. The dad is the likeable character. The mother is the one with the inside hurtin'. Ah, life is rough.

"Anna and the King of Siam" (1946)


I thought this would be one of the other versions that I had already seen. I was wrong. So, now I have seen 3 of the 4 versions of this story. This one was black and white. If I had to rank the 3 I've seen, this would be #2, more on the side of "like". At the same time, there are parts of this that I would place closer to the #1 spot. So, maybe it's tied for first.

This particular DVD also included a 45 minute documentary on the real story of Anna. I didn't watch the whole bit, but did snitch a few selections of it. It would be interesting to watch the whole thing.

"My Darling Clementine" (1946)


"Pre-Release Version". Lead character--Wyatt Earp. Other than you know there's going to be a shoot-out (What's a western without one?), you can't see exactly which way the story's going to go. Not bad.

Released version was on the flip side of the DVD, but I didn't have time to watch it too.  I did watch the comparison special feature illustration--most interesting.

"National Velvet" (1944)

Horse movie. Angela Landsbury (minor character, teenager). Mickey Rooney. Elizabeth Taylor (12 year old character). Fun to watch the mother and father relationship--that was half of what made the movie. Not sure why a tune reminiscent of "Molly Malone" was used for the coming home victory bit. Very good movie.

"Spellbound" (1945)

Alfred Hitchcock. Very nice. :) Music Oscar. Psychoanalysis as huge part of story line. Music of bathroom scene adds to the suspense of the scene--heart beat rhythms?

"Anchors Aweigh" (1945)

Gene Kelly, Frank Sinatra. Kelly does a dance number with Jerry of Tom & Jerry. I grew up with Tom & Jerry, but Jerry didn't talk. Seems I also remember from a long time back hearing that it was tough dancing with cartoons (mixing cartoons with live action) with the way they had to do it in some of this early stuff. Very nice movie. :)

"Leave Her to Heaven" (1945)


I had my 1st break-down refusal to watch. I've groused about movies before. I groused through the first hour of this one. I made it that far by telling me view the first leading lady as a fangless vampire. That helped some. Then I reached the point where I just flat refused to watch any more. Unless you're viewing the story as wonderful because it's "original" (if there is such a thing) or not used much, I see this as a lousy, horrible story that I suppose was to made acceptably enjoyable because it was set in beautiful scenery. Or maybe they were trying to do a modern day reverse Oedipus--female version (she marries her father and "kills" her mother). Whatever the view, I fast forwarded through 30-some minutes of the last parts of the movie. Likely food for an analysis feast, I suppose. I didn't like and I couldn't stand it.

May have to go on a walk on this lovely day before I grade papers to dispel the movie's awful effects.

"The Picture of Dorian Gray" (1945)

SPOILER ALERT-- ... uhm ... I'd not read the book previous. I'm sure a lot of that should speak for itself. Intriguing. Okay, one "well duh" moment--when Dorian kills Basel, the movie's voice over narrator says, "He had a sense that he'd done something that couldn't be undone." Yeah. It's called murder. Definitely can see the Romantic pieces of this story (and I don't mean--love/romance). Am trying to imagine this as a book. Some of it would be easier--the character of Lord Henry talks so fast in the movie, it was hard to absorb--reading the book would be easier 'cause you could read it slower; then again, I'm a little tired, so not exactly at tip top thinking power, but that's okay because this was just the first view of the movie anyway. As I was saying, was trying to picture this as a book. I can see the picture descriptions working fine in words, but the music was integral in places in the movie--I'm trying to imagine written song. Doesn't do the story justice. In Romantic Music, the melody and accompaniment are integral to each other; you can't separate them. This seems like a movie go at the same thing--you can't have this story with out the music or the painted picture. Cinematography award--so lots of interesting things to look at--both camera shots and set. Black and white picture, mostly. It actually has some spliced in color movie bits revolving around the portrait. Young Angela Landsbury. I suspect anything else I'd have to say would be a reaction to the story--and I'll save that for a novel review. I do wonder if this would be considered creepy sci-fi, or mild thriller, not that the label matters, but the question interests me.

"Blood on the Sun" (1945)

Won an academy award for art direction of a black and white movie.  An award for art direction of a black and white movie.  The version I watched was colorized.  :/   James Cagney.  I wondered if I would see any transition movies.  I think this was one of them.  Part war movie (story line), part action movie, though early.  Set in pre-WWII Japan, so the story's "bad guys" are all Japanese.  The fight scenes are a mix of martial art and fist fight--makes me wonder what the first "martial arts" movie is.  This certainly is an early, early, EARLY one.  Slightly confused about one part--leading lady--calm and cool entire movie, then goes hysterical during the crucial ending ... ???  Not sure if that makes the movie "just a generic war/action flick" or if that means "must have been a man who wrote it".  I just know it was a bit ... odd, even for considering the culture of the time.  But, maybe I'm wrong and it wouldn't have stuck out back then.  Ending was kind of strange, too--Japanese officials kept quoting morals and sayings from the Bible.  [Not that Japanese folks wouldn't know it, but the context for all the "bad guys" continually referring to it, struck me as strange.]

"Cover Girl" (1944)

Musical featuring music by Jerome Kern and George Gershwin including the song "Long Ago and Far Away" which I really love. Rita Hayworth and Gene Kelly. Gene Kelly dances a number with himself bringing back an early film special effects technique--amazing. The story conflict (multiple working places--conflict of interests? men/women working roles?) has me a little mixed--but I'm attributing it either to the culture of the time or what they needed to do to actually have a conflict in the story. More likely it's the latter one. Romance conflicts in a theater work setting I'm sure are limited.

"Since You Went Away" (1944)

3 hour movie--had to watch it in two shifts. On the one hand, nothing particularly unique about the movie--except maybe the dog. On the other hand, it was a very nice movie. I watched the first 2 hours last night--up to the intermission screen. In the second shift, (the ending) there was a lot of sniff, sniff, sob, sob sad and happy parts. "Soda" the bulldog was one of my favorite parts, and the music that accompanied his bits helped make the part--the instrumentation of the bits & the timing of them in the story line--very nice, big grin. Shirley Temple plays a young, young teenager. Story is the war on the home front and home sweet home.

"Gaslight" (1944)

Came with the 1940 version on the flip side, but didn't have time to watch it too. ss-ll-ooo-www psychological thriller. Well-written, but slow. Art design (as I understand it), was indeed well done. I liked the ending, actually. That fit well. Leading lady--Ingrid Bergman. Supporting actress--a young Angela Landsbury. I like the ending.

"Air Force" (1943)

WOW. WOW. I've seen bits (movies, TV shows, etc.) do Pearl Harbor centered stories. This movie uses that as a starting point instead of an end. About Pacific war theater from an Air Force bomber perspective. Not only was this a great movie, but I'm thoroughly impressed with a movie in the air from 1943. 1943. I'm sure one or two bits were models, but there was a lot of real deal footage--or sure looked it to me. A movie in the air from 1943. Wow!

"This Is the Army" (1943)

Started with a couple of explanations--one was the origin and purpose of the film (money raiser), the other involving the historical/cultural context of black face. Even with the forewarning, black face seems strange to me. That's probably a good thing. Aside from that, a lot of numbers I really enjoyed--"This is the Army, Mr. Jones", the acrobatics (I guess you call it that--different handstand formations), and other bits. I liked the generational tie-in with WWI. The movie is mostly a dramatized concert. And the music--tap dancing, men's' chorus, barbershop/multi-part men's harmony, wonderful music. I miss having music like this show up today. One of the early numbers echoed a piece I saw and a different movie ("Yankee Doodle Dandy"? but that doesn't sound right).

"The Song of Bernadette" (1943)

Definitely a Catholic story line. Alfred Newman music. It's not a fast movie, but I found me watching pretty steady all the way through. One of the longer films--2 hrs. and 36 min. Black & white.

"Phantom of the Opera" (1943)


Previously, I was more familiar with more recent versions of this tale. In some ways, I like this one better. It really is a nice version to LOOK at. Pleasant to watch, pleasant to listen to. It starts a little earlier in the story and takes a slightly different tack to the story line. I actually really like the ending (several pieces of the story line and one of the scene's visual compositions). (I do have to admit I like some of the Phantom's screams/laughs better in later versions.)

SPOILER ALERT: I like the visual composition of the dusty violin and mask in the rubble.

"The Pride of the Yankees" (1942)

The story of Lou Gehrig. Sweet story. Sweet, sweet story. Of course the ending, was (sniff, sniff, sob, sniff). It was nice to have something more to the story than just "Lou Gehrig's disease". I knew he played baseball, but nothing else. Did I mention it was a sweet story? I didn't realize until the credits that it wasn't look-alikes playing a couple of the characters--it was the characters themselves--2 ball players, Bill Dickey and Babe Ruth--wow. High rankings, this.

"Yankee Doodle Dandy" (1942)


Well, this review is for everything but the last 5 minutes of the movie. Will have to TRY AGAIN to watch this. :/ Will adapt the review if needed when I finally get to finish it. I was ready to see it last Thursday and didn't get to see but the first 5 minutes. I was determined to see it today, but suspect my mind may be more tired than it could appreciate the movie? Not thrilled to have a 2nd version of this not work. The only thing I can figure is it is so popular that our musical (?), democratic nation has worn out two copies.

Movie: "Yankee Doodle Dandy" (1942). Musical Biography of George M. Cohan. Dramatized concert of his music, mostly. Unless the ending changed that, which is possible.

Well, I finally got to see the ending of "Yankee Doodle Dandy". I know attitude can make a difference when watching the arts (not that that's a new idea to me). I liked the ending. In fact, it makes me want to watch the whole thing again. I don't have time to do that (especially with having to ask for the movie 3 times), but perhaps I'll remember it the next time I wonder what a good 4th of July movie would be good to watch. The movie also makes me want to read a biography or autobiography of George M. Cohan to see how much of it is true.

"Now, Voyager" (1942)

Bette Davis. Max Steiner, music. Psychology takes a forefront in pictures. I loved this picture. It's one of the few that will get a high rating from me. The music does a fine job of underscoring instead of being so pretentious or concert-like. Interesting story line and Cinderella character development (which I'm partial to). I would enjoy watching it again just to listen to the music; in fact, the DVD among its special features allows for just the music to be listened to--something I would love to do, but don't have time to. Fine picture!

"The Bourne Legacy" (2012)


Setting aside the lead character change (because that's a separate matter), I'm not sure this is at the same level as the other Bourne movies. As an action film, it's fine. IF it is a transition film in the Bourne series, then it accomplished that. I watch the 1st 3 Bourne movies pretty regularly. The types of things I watch for and enjoy weren't exactly in this one. Again, as an action film, they did fine. Suspense, fine. Transition film, decent enough. It's just not getting added to the "purchased Bourne" collection. As for its place in the Bourne series (again, aside from the lead character change), I'm thinking that just needs to remain to be seen. We'll see what the next film brings. Sometimes you need the one film before you can make the next--and the next is better.

As for the lead character change, I know what couple factors I like about the Jason Bourne character and I don't think it fair to hold those enjoyed pieces against the character of Aaron Cross. From what I heard (I'll call it press rumor), I don't fault either side there (the Matt Damon vs. Bourne producers part)--I don't fault either side, I see both sides, that makes me indifferent. I do say that they didn't give me any comparable "enjoyed pieces" to make up the difference--attempted, but they fell slightly short.

"Total Recall" (2012)


I think I watched the original version on TV. IMDb says 1990, but that doesn't sound right. It wouldn't have been anything I'd have gone to the theater to see. Original had Arnold Schwarzenegger in it. I liked the original enough to keep watching, but not sure I ever formed and opinion about it--which is why it seems to me that it should be an older movie than 1990. Anyways, this remake--I LOVED it!!! Thoroughly enjoyed it. I think it even qualifies as "a movie Sherry would watch again". In fact, I know it would. Very nice!

And the piano was a very nice touch!  :)

"The Nazis Strike" (1943)

"Prelude to War" and "The Nazis Strike" are the first two films of a series by Frank Capra called "Why We Fight". "Prelude to War" was on my list. The second film was watched because it was on the same DVD. I think I've learned more about WWII from these two films than I did my previous history studies. I don't know that I'd completely fault my education as much this is a slowed down look at events. One school's curriculum took one event (they happened to pick the American Civil War) to show how any history event can be gone into so much more depth than what a survey course can do. The idea is that you survey everything, but show one event in-depth to show the immense possibilities. So, these films are a sneek peek at the in-depth possibilities of this part of history.

"Prelude to War" (1942)

American war propaganda film. I'm almost of the notion this should be required college viewing--and anyone who would think that the notions stated here are only applicable to the WWII time in history is kidding themselves. This film needs discussing--more in light of today than back then. I have more thoughts about this film, but that's all I'm saying here. Most of the music fit with what Capra was trying to do, with the exception of the piece of circus music that's used early on.

"The Good Earth" (1937)


I did not like the first 20 pages of the novel (I could get no further). I do not like the movie. I do not know why. I do like the importance of the land, and the leading lady, but that's about the only consistent threads I liked the whole movie through. I do understand why it got the cinematography award. Other than the appeal of the exotic (China), I do not understand the appeal of this movie. However, I will grant that it is well-written, so it is a decent enough story. Also, story-wise, it's a predecessor to the movie "The Days of Heaven".

 I will admit that my attitude here might be colored a bit of the season of the month. Perhaps in a lazier time and day, I would have a different opinion.

"Tom Jones" (1963)


A most excellent adaptation of the novel. I like it. I want to watch it again, although, I must confess that’s largely because of the music. The music is in the same class as “Convoy” was—seems to fit, in a manner of speaking, but at the same time, makes you cock your head to one side in delightful puzzlement. Intriguing instrument choices. One well-placed dog whine. Calliope style music using a harpsichord of all things—at times clownish. A great puzzle, the music is. I want to analyze it. A couple of characters break the audience wall on occasion, and the narrator sings—sings, what, a ministral song? A bar style song? I don’t know. Did I mention I want to analyze it?

I was away from my notes when I wrote the review above. It was the music that won the award. Really? That was the top dog of its category in 1963? Now I want to analyze it even more.

"Second Honeymoon" (1937)

Romantic comedy. Not my style of comedy--but I don't usually find movies with my comedy style, so that's nothing to discount the movie for. a Tyrone Powers flick. Interesting camera shot of a harpoon hitting a giant ray. Enough twists to the plot for a general romantic comedy movie.

"This Above All" (1942)

Middle of the war romance. Set in England. Other than the story question of "What are we fighting for" (romance perspective), not much else stands out of this film for me. Straightforward story and movie. Another Tyrone Powers film.

"The Black Swan" (1942)

Pirate movie. The beginning felt like a strange tussle between fluffy and serious, but it soon settled down into a steady mood for the movie. It's a rare movie that I actually give a Netflix 5 rating to. This one is a 4 and 3 quarters, if I could give that. It's mighty close. The ending is a happy ending with no resolution, if that makes any sense. I liked it, other than the ending in that the ending was a bit short. I would love to rewatch/relisten to this movie for the music it employs. Color movie. And a nice looking male lead.

"For the Common Defense!" (1942)

One of the bonus features on the "Mrs. Miniver" DVD--short film of 20 minutes. Framed as a documentary about how police forces cooperate among nations. The main part of the film is a dramatization, like a crime show.

"Mrs. Miniver" (1942)

A sweet war movie--even though that's a paradox. Not in the realm of the realism that will be staged in later decades, but represents war maybe as it might appear on the Dick Van Dyke show? No comedy, but the same sweetness. Early on, one repeated musical theme is the hymn tune I know as "God Our Help In Ages Past". I suspect it is the same, though maybe with some verse differences. Besides hymn singing at church, one minor character is a church bell ringer, and the story line works in hearing planes overhead both for somberness (going to fight, fighting itself) and in communication to the mother (leading lady). What would be interesting to examine this film would be for identifying which characters were dynamic and which were static. End credits included a statement asking Americans to by war bonds etc.

"How Green Was My Valley" (1941)

If a rating of 10 meant that a movie was completely overwhelming, I think I would rate this movie a 9, or almost so--and I don't meant emotionally. Welsh movie--rather, it is set in Wales. About a Welsh mining family. Movie generates questions. At the start of the movie, and every so often throughout, I would ask Why was this movie made? Why did they decide to make this movie? Why this story? I don't know why I ask the question--I certainly don't typically ask it--but it was a question the movie begged. Black & white. Lots of visual detail. Lots of singing--I'm assuming the songs were in Welsh because I didn't understand any of them, but I recognized the melodies of several of the hymns since they are in our Lutheran hymnal. I wouldn't call the movie a musical. But I wouldn't not call it that either. Is there such thing as a narrative musical (as opposed to a singing musical)? That's a me-coined phrase, but it seems to fit. The lead character--a boy narrator--gives a call through the coal mines near the end--the kind of sound that sticks in your mind. It's a movie with lots to think about--but I'm hard pressed to come up with any more questions than what I've been able to formulate. It's a movie worth watching. I certainly liked it, and I have no idea why, but I'm okay with that, at least for now.

"Dumbo" (1941)


This was a re-watch, but it also had been awhile. The movie really could be a story concert (Romantic Programmatic music) by itself, without the visuals. Variety of musical styles. Communication of emotion and "talking" for Dumbo himself. Quite enjoyable. I also watched the extra feature "The Making of Dumbo". Even in the bit where they talk about the music of the film, they almost exclusively focus on talking about the lyrics. Certainly the sung songs are a significant part of the movie, but there were also the solo oboe moments, the fun tuba intro, an interesting transition or two, and the sound used when the mouse clangs the watch before talking in the ringmaster's ear. I mean, when they were talking about the visual parts of that scene, they mention borrowing from German Expressionism. So, what was the sound borrowed from? "The Making..." was interesting--don't get me wrong--but I continue to hear the need for a more solid music education.

Good food for thought.

"The Devil and Daniel Webster" (1941)

Original Release title "All That Money Can Buy" An Oscar for music--but, it was hard to hear it in this edition real clear in order to say anything about it. A story line descendant of "Dr. Faustus". Daniel Webster's jury speech is mighty interesting in the context of 1941. Once the story got rolling, the story moved along pretty well and had me watching pretty closely.

"Blood and Sand" (1941)

The setting in Spain bridges "30s spectacle" with a more realistic flavor to it. Music is also richly woven in--not over done, but easier to give a flavor of exotic Spain than with America (because of America's unique musical history problem). Bull-fighting story line, and that was what the story was about. But, for once, it was the female characters that were the more interesting to look at. It was the male characters that were "flat" this time. Not that the story was or wasn't about the females, and they wouldn't get either of my "interesting" or "intriguing" labels, but they were the deeper characters. Color cinematography award--and who wouldn't want to film Spain in color. Rita Hayworth was the one actor/actress name I recognized. Besides the female characters, there are story things that could be analyzed--maybe in connection with another movie.

"Pinocchio" (1940)

This was a re-watch for me, but I can see why I didn't like it as a kid. If this was intended as a movie for kid audiences, then it was for a much different idea of kid entertainment than today. I lean more towards either a clearer mixed audience or one heavier on the adult side. And the music score really is masterful for its time--and not just the feature songs. You have to picture the studio orchestra playing this--especially some of the clock features--but the other places are good too because they are appropriate and not overdone.

"Rebecca" (1940)

Alfred Hitchcock. Cinematography award--indeed! Music definitely crucial. A number of amazing film tricks. [I did find the bonus bit "Making of 'Rebecca'" most interesting--or at least what I watched of it] Okay, and in spite of my earlier complaining, the movie was well done. Apparently also the only Hitchcock movie to win an Oscar?--or maybe it was Oscar for Best Picture??? And, oh yes, creepy housekeeper indeed.

"The Thief of Bagdad" (1940)

Okay, I've not read the original Arabian tales--not the complete lot. And I'm afraid my knowledge of them is limited--filled in part by Disney--which are good and interesting movies to watch, but can be quite free with original sources--as ANY moviemaker can be. With my rambly intro, what I'm trying to say is this movie is loosely Aladdin (what I know) except it's pretty much not. There's not even half a dozen things that are the same between the two (let's say Disney's Aladdin), but those near-half-a-dozen much enough to wonder. Color film. It's not a comedy, but the music is "ham-y"--more suitable for a comedy. Maybe trying to keep the story light? Maybe not sure how one scores for a movie that's not dread-dark and not comedy either. Pre-computer special effects. I like some of the twists of the story--had to go back and watch an early scene again because I liked it. Spoiler Alert!: How "cheap" is it for a Father to trade his daughter for a toy! The early scene I had to rewatch: the beginning bit with the beggar and the dog. I like the beggar's wit, and I liked the dog's performance. :)

"Pride and Prejudice" (1940)

Very nice adaptation. I quite enjoyed it. :) The actors playing Darcy & Elizabeth (Laurence Olivier and Greer Garson) were wonderful to watch. Very nice sets. (Black & white picture)

"Dance, Girl, Dance" (1940)

Director Dorothy Arzner. Lucille Ball. Quite the statement--especially the character Judy O'Brien's speech to the burlesque audience near the end. I can see why folks discuss this one.

"Stagecoach" (1939)

Western. Opening credits advertise music based on American folk songs--"I'm leaving Cheyenne", "I'm going to leave old Texas now" "I dream of the Jeannie with the light brown hair" are some of the ones I remember catching, but I'm sure that's not all of them. Story has a major theme of social class tensions in it. Also plays with questions of right and wrong--at least a little. The black cat was a nice touch. This is the John Wayne movie with the Apache who is shot off a lead pair of horses (of 3 pair) and is driven over by the stagecoach. Music was nice, yes. Nice flesh and blood characters.

"The Rules of the Game" (1939)

French movie. With time for only one watch through and subtitles, I wasn't able to watch camera shots much, especially for the "long shot" that Renoir added as a new idea. Movie was originally banned and not re-shown until 1965. I'm actually glad I watched the Renoir introduction that was included with this movie. It at least shared what inspired the movie, what he was aiming for, and how he had seen carrying it out. As far as carrying out his ends, I'd say he did, accomplished his aims/ends well. This is not a "feel good movie". Spoiler alert: Loose morals (or no morals, take your pick) and shooting the national hero by accident is not exactly a rousing story with a "hip hip hooray" ending.

"Alexander's Ragtime Band" (1938)

Loved this movie. It's a musical. Since the story's about a band, there were a lot of natural places to add songs; and unlike "The Great Waltz" (where the instrument playing was so clearly mimed--which was how they could dance playing bassoons), if they mimed this, they did a good job of it. And not only were there tons of quality songs, a number of them I knew because they've become standards: "Alexander's Ragtime Band" (of course), "Blue Skies", "We're Having a Heat Wave", "Oh, How I Hate to Get Up in the Morning", and "Easter Parade" are the one's I recognized for sure. Had a young Ethel Merman. (After the days of "I Love Lucy," I was sure I'd know her. The whole movie I thought I knew. When the end credits rolled, I found I was wrong. Whoops.) Still 30s spectacle--but all dance numbers, and not too overdone, but still lavish. Several music styles as the band's story traveled through time--ragtime, big band, blues, swing. Story was strong enough to pull through all the songs. Overall: Win.

"The Great Waltz" (1938)


"We have dramatized the spirit rather than the facts of his life, ..." I'm hung up on this phrase...
 It took me watching the movie to understand this quote. And only watching this movie clarified it ...

A marching bassoon?????
And I stand corrected. They were dancing. Or waltzing. And there were two of them.

Once upon a time, there was a pair of horses pulling a cart. From this cart was heard an argument. "I'm a musical." "No, I'm not." "Yes, I am." "No, I'm not." Meanwhile, from the other direction came another pair of horses pulling another cart. This cart, too, had an argument. "I'm an operetta." "No, an opera." "An operetta." "An opera." Suddenly, with a great Depression spectacle crash, the two carts collided. All four horses ran away with a big chunk of the plot leaving a confusion of two carts and no solution to the arguments. "Well," said one voice, "we have part of the plot left anyway. Let's make it a romance." "Oh," said another voice, "we must make sure it's okay with the censor board, or our audience won't come to see it." "We've got enough pieces of cart here to put a light movie together. Let's see--a smattering of silly from musicals, plenty of high soprano cadenza's to make a piccolo player sigh in delight, and an impressive camera shot following a pair of waltzers in a circle around a garden gazebo to help nail an academy award." "I know! We'll call it...'The Great Waltz'."

"Bringing Up Baby" (1938)

Romantic comedy with Cary Grant and Katharine Hepburn. I have wanted to watch this movie since reading the short story it was based on. Very much enjoyed the movie. I think it's on the list as an example of "Screwball Comedy".

"The Adventures in Robin Hood" (1938)

When I was in high school, I watched the movie "Robin Hood: Prince of Thieves". While I wouldn't call the movie a "I gotta rewatch it" movie, I loved the music from it enough to buy the sheet music. I played that music for a long time and it still ranks among the music I like playing (as I get to it). A few years ago, I read the Robin Hood stories. I liked them even better then the "Prince of Thieves" movie. Don't get me wrong--the "Prince of Thieves" is a quality action movie--but the spirit of the book was more one of jest. Maybe closer to the original "A-Team" series. This multiple award winning version (1938) is of a spirit of the book--laughter in the face of danger, fanciful rescues, and, while no campfire songs as the book documents, the soundtrack is rousing enough to qualify. The spirit of the book--just fun, good-guys-get-the-bad-guys, good-guys-win fun, wrapped up in a movie. I very rarely rank a movie I'd watch multiple times. This is one of them.

"A Star Is Born" (1937)

This movie is one of those that it's how you spin it. The main view that the movie emphasizes is about the cost and heartache that comes along with getting your dreams. They do accomplish this, but the movie could easily be said to be about something else due to the amount of screen time it gives to other matters as related as they might be. I'm not sure, but I think one of the original novelties of this picture is the idea of shooting one scene with three cameras--so you only have to shoot it once, then you have options to edit from. Music was (obviously) still studio orchestra--but seemed to fit what I now have associated as the "older movie" style of music; so, the music is past the "beginning".

"Lost Horizon" (1937)

It is folly to believe that it is an external government or belief system that is the cause of all our troubles--that if we just had the right system of governance, that everyone will be happy and crime will be nearly non-existent. It's an idea expressed by Plato ("Republic") and was the thought of some of the early founders of this country--that if you just get the right external system, all your problems will be solved. The problem isn't with the system. We live in a fallen and sinful world because humans are fallen and sinful. It is not the external system at fault, it is the internal sinfulness of humans. The perfect system only exists after this life in heaven. So, Shangri-La (the place in this film), is pure myth--not possible. THAT being said, this was a film I very much enjoyed. It is a restored film--so that was interesting in itself. There were occasional places where still photos had to be used, because the film no longer exists. The whole process of restoring this would be fascinating to follow much closer. One of the implied questions posed by the story is: If a person was confronted with a perfect society, what would they do with it? How would they react? One character knew more of what to do with dead things than live people. More directly: Could diplomatic relations be carried out and done with no weapons of any kind? If so, what would that look like? Is that possible? I watched just a snitch of the special features--long enough to see a couple of examples of before and after film restoration bits, and to see one of the only existing actual film footage made off of negatives. (The film is otherwise almost entirely made off of other prints.) It showed me I was definitely missing out what the experience could've been like. The music when they were traveling originally to Shangri-La reminded me of the music we played at ABC from Kazakhstan--the style chording, the instrumentation. Since it's set in Tibet, that's not too far off. But that style music seemed to be just in that place in the film. It showed me how far the use of models have come in seeing this early example.  Guess I had something to say about this one.

"Three Coins in the Fountain" (1954)

Movie: "Three Coins in the Fountain" (1954) Nice simple 3-couple romance. Actually, this movie should be "Look, a travel guide of sights in Rome with a little Venice mixed in. We'll throw in a romance story, just so we can count it a movie and not a a documentary." You want pleasant and fluffy, it will do very nicely. Definitely the romance/dating ideals of the 50s. And assumed ending. Not as warm a color in the shots as the "Garden of Allah," (maybe "Garden of Allah" is singular in that respect)--but nothing to complain about. The song "Three Coins in the Fountain" is sung at the beginning, then themes from it are repeated throughout.

"The Garden of Allah" (1936)

Movie: "The Garden of Allah" (1936) A story about a Catholic spiritual struggle with a Sand Diviner foreshadowing events under an Islamic movie title and watched by a Lutheran reviewer...slight viewpoint warp there. Aside from the multi-faceted viewpoint, good movie. The movie won an honorary Oscar award for color cinematography--so in my chronological watching of movies, I've reached color films. And I can see why the award. I may be momentarily out of the loop for more recent films, but this film seems to prompt something missing from current day. It's not just a film in color. It's a film enjoying the sheer lusciousness of color. Every scene rolls in it. It's much like looking forward to the flavor of a favorite bite of food when you're hungry and haven't had it for awhile. Only, the whole film's that way. "Let's enjoy color! Just for the pure wonderfulness of it" There may be some hints still of 30s spectacle, but compared to the other movies, it's much more subdued. Music still seems slightly overdone compared to today--so still "dramatic" in places, but not as bad as before. The one surreal bit--women in the desert always look drop dead gorgeous every day of the week. It's the desert. Hello! But, it's not a depressing drama, so I don't mind. :)

"The Informer" (1935)

"Modern re-telling" isn't quite accurate.  Maybe "modern adaptation" would be closer.  Speculates (or modern adaptaion) of Judas Iscariot from the Bible.  The setting works.  Movie is set in Ireland.  What doesn't work (if they were trying to adapt the story all the way):  They miss part of the context of Judas's story.  Also, if they were trying to adapt it all they way, then they would be calling Judas a brute idiot who didn't know what he's doing and is forgiven by the mother of the person he betrayed.  Also (this sentence spoiler alert), he's killed by someone else at gunshot instead of himself by suicide.  No music under any dialog, but it is used very effectively under the non-dialog scenes.  I can see why it won an award.  This movie would be a great study/example for music setting tone, for communicating what is mentally going on within the character(s) minds.  Also included a number of Irish songs (sung bar song style), but the copy of the movie was watching I had trouble understanding any of the words; so, I can't make any assessments on what they did or didn't contribute.

"Shane" (1953)

Western. Nice movie. Typical story line. Good low-lighting scenes--catching the sight of a gun out of a dark window, sculpted face close-ups. The ominous string bass and muted trumpets for the lead up to the big gun fight scene. Camera shots under prancing agitated horses.

"A Midsummer Night's Dream" (1935)

Part 30s spectacle film, part stage production, part ballet. Assuming it's part of 30s style comedy acting, but acting seemed put on/stylized/overdone. Music: Korngold adaptation of Mendelssohn's Midsummer music.

"The Naked City" (1948)

A Jack Webb/Dragnet type detective story, only it wasn't Jack Webb, so the voice-over narrator that broke the 3rd wall actually had expression to it. I haven't looked yet to see which/who came first. Lead detective had an Irish accent; that was kind of fun. I enjoyed this movie. yay.

"Bicycle Thieves" (1948)


Italian movie with English subtitles. Entire world against one man and man loses. (Everyone else catches a break.) Then the movie gets depressed. Then the depression gets depressed. After that, the movie ends on a down note. So, why am I watching this? Because it's an example of Italian Neo-Realism (which means times after war are depressed and we're going tell about it in real time [aka "slow" by today's standards]) and because it was one of the 1st movies to teach Americans how to watch movies with subtitles.

Do me a favor. If you have the chance to do a "1st", pick something at least slightly upbeat for posterity, will ya?

"Cleopatra" (1934)

Another 30s spectacle movie. One of the music bits seems reminiscent of "Bolero". Seems to have a lot of "you were undone by a woman?!" sentiment parts, but I can't tell if that's indicative of the story, of the 30s, or both.

"Black Narcissus" (1947)

There's a phrase from the play "Our Town" that seems fitting to describe my experience in watching this movie: "I can't look hard enough." Not necessarily for the same reason as in the play, but a fitting phrase. Is a part of the time when the newness of color films was still something embraced with a zest through much of the film. Fascinating film in it's color and mood. Fascinating/Look hard film in it's story line. The film title and as it applied to the movie would be a study in itself. "I can't look hard enough." It's a film that needs a microscope.

"The Cabinet of Dr. Caligari" (1920)

This was a filmed stage play.  Crazy, wonky sets.  Sometimes they shaded the film for scenes (pink, green, etc.).  Ending is unanticipated--can leave you puzzling over the story as a whole, and sometimes places in the middle.  The on screen words are in German.

"You and I" (1918)


Also known as "The Outlaw and His Wife"--movie directed by Victor Sjostrom.  Swedish.

The special extra with this was very interesting.  Bergman talks in an interview about how Sjostrom influenced him and showed clips of some of the other visual effects and neat stuff that Sjostrom filmed.  Amazing for something so early.

"A Farewell to Arms" (1932)

Once I started watching this movie, I realized I'd seen it once before for a class.  In that class, they'd pointed out the symbolism of the rain--rain for the leading lady--when the rain stops, she's dead.  I wasn't crazy about the film.  The "best friend" was a crummy friend and a bittersweet ending.

"Convoy" (1978)


A trucker movie.  So, I should've known I was in for a puzzle when in the OPENING CREDITS it advertises the music as by Chip Davis.  Not in the end credits.  The opening credits.

and Chip Davis.

As in Mannheim Steamroller composer, Chip Davis.

I'd read some film theory book summaries talking about music as a key component/integral part of movies.  I believe it.  But I couldn't imagine a more mismatched pairing than a smash 'em up trucker-talking action flick visual and Mannheim Steamroller style are-you-sure-there-isn't-a-Christmas-tree-in-there music.  And the pairing worked.  Kinda.  I think.

And then there's the fact the there was an original song to begin with.  The movie was based on the song.

Not sure I've conveyed exactly how strange the music was at times.  And how it kinda fit at others.

I'm going to like this field.

Sure makes an interesting puzzle.

"Sunrise" (1927)

Has a long tracking shot.  Interesting early camera movement choices.  The middle section--where he and she are re-getting to know one another--gets kind of long, and there are a few storyline elements introduced that seem to have less bearing on the story than what you might think, but it has some nice moments and the ending is nice.

"Sherlock Jr." (1924)

I loved watching this silent film.  It was very enjoyable.  The ending was nice.  There were some neat visual stunts in it--which amazed me considering this was an early film.

"Hello, Dolly!" (1969)

This musical made me grin from ear to ear.  Very much enjoyed it.  Definitely a musical with spectacle, but the music was delightful and the choreography fun to watch.

"Modern Times" (1936)

I've long enjoyed Gidon Kremer's "Smile." Tonight I got to put it with the movie. Nice job, Charlie Chaplin.

"Restoration" (1995)

Definitely a change for the better from some of the heavier dramas I've watched recently. Definitely R-rated, and not from violence. Aside from the R-rated stuff--which I'm sure is accurate, but not my thing--it is an excellent movie.

"Great Expectations" (1946)

I haven't read the book yet. I normally prefer to read the book first, but there's not time this time--and since it was Dickens, I don't anticipate there being any problem doing them in reverse this time. I very much enjoyed this piece. Nice sets.

"Detour" (1945)


a "'20 reasons' (that get out of hand)" why you shouldn't hitchhike. Short (63 minutes). Slow. I did appreciate having a label this time going "This is Film Noir" so I could know what I was looking at.

an example of "film noir"--so real chipper stuff (not). Anyways, they must have the film in backwards??? Otherwise, how did we get so many British style cars in America and start driving down the left side of the road? (It's a film from 1945.)

"Mississippi Burning" (1988)

Well-written. Keeps you hooked. Not what I'd consider "entertaining", but it's a drama. So, what do you expect.

"Shakespeare Behind Bars" (2005)

a "my choice" film, documentary. FAScinating. I like Shakespeare, and I like hearing how it is used in different ways, beneficial ways. This was a 90 minute documentary. In that whole time, you only hear one question asked by the interviewer(s)--and that really was because the question was needed--the reaction wouldn't have made sense otherwise, and you needed to see the space of time between the question and the answer. Fascinating documentary.

"Avalon High" (2010)

Watched the beginning and ending of this movie. Liked the twist they gave to the King Arthur & the knights of the round table.

"The Scarlet Empress" (1934)

I recognize the actress name Marlene Dietrich, but I'm not sure why. I think this movie would be a costumer's feast to watch. Accept for the very last minute, the music liked taking just enough from "Overture of 1812" to tease you and then it would veer off. Kind of like a Fantasy on Overture of 1812--reminiscences of it, but never the whole snatches of the piece. The last 30 seconds/1 minute actually played several coherent bars of the piece--except no cannons. But there were enough church bells ringing, the cannons would've been a detraction.

"The Pirates Who Don't Do Anything: A VeggieTales Movie" (2008)

Another "my choice"--Veggie Tales!!! (I love Veggie Tale humor. LOVE it!) :D

"Spy Kids" (2001)

A nice fluffy movie. :) Lots of fun gadget fun. And nice to a see a Latino family as the (super)hereos.

"Black Lightning" (2008)

a Russian teen-save-'em sorta-sci-fi flick

"The Addams Family" (1991)

This one's from my "my choice" list. And it was a rewatch. :)

"Apocalypse Now" (1979)


I normally don't care for war movies (understatement)--especially modern-day anything-after-color ones. Knowing this was an adaption of the novel "Heart of Darkness" set me up better, I guess, because I liked this movie--or at least as much as one can "like" war. In theater, plays are adapted to different times and places all the time, so the shift with this story didn't bother me. An adaptation of "Heart of Darkness" set during the Vietnam War. It fit and it was Done very well.

Guess I have one musical comment. You want to put a loaded piece of music into a film, than they certainly did it with this one. "Ride of the Valkyries"--and not as background music. One of the commanders deliberately plays this music out of a helicopter as they attack. Yeah. That choice has some loaded connotations with it.

"The Testament of Dr. Mabuse" (1933)

German film. Well-written. Creepy--mentally creepy. Kind of a psychological detective bit. Still creepy. My film history book said this director was doing stuff with sound that Hollywood didn't do for quite awhile. Yeah, there's some interesting sound bits.

"Champion" (1949)

Kirk Douglas plays a good boxer who's a jerk. Kind of a mixed ending. Won an Oscar for film editing--I'm still learning what to watch for there.

"The Birth of a Nation" (1915)


While an argument can be made for the appropriateness one way or another for watching, "Birth of a Nation" on Independence Day, my thoughts aren't so deep. Today's a working holiday. Festivities themselves continue this evening. And it's not evening yet.,

There must be another set of words for the tune I know as "O Tannenbaum"/"O Christmas Tree". Has to be. I can not figure out what the tune has to do with battle scenes otherwise.

Also, I'm not rating this movie. My movie rating sites can just deal with that. The battle scenes alone--for such an early movie (1915)--shows quite the undertaking.

"Gold Diggers of 1933" (1933)


(1933--surprised?) Delightful, fluffy musical with a will-the-boy-get-the-girl-will-the-girl-get-the-boy romance. Happy story ending. Ended with a somber (sort of) musical number. So, after all the fluffiness, the ending was meant to make you think.

Ever heard the song/sung phrase "We're in the money. We're in the money."? That song's from this movie.

There was a chorus sung in Pig Latin. Pig Latin. How long has pig Latin been around?

"Trouble in Paradise" (1932)

Loved it. In fact, cracked me up in places--partly because those places reminded me of Boss Hogg and his nephew Huey--only this movie was definitely a different setting. Lots of opportunity for showing glamour, romance, and plush luxury. Music was definitely much more integral to telling what's going on then the movies earlier than this. That was nice--integral music for storytelling and light music for a light-hearted movie.

"Sons and Lovers" (1960)

Filled with strong women--so strong they "ruin" lead male's life. What?!

"I Am a Fugitive from a Chain Gang" (1932)

Movie's argument = state government's with chain gangs make honest people crooked.

"The Public Enemy" (1931)

Gangster movie. Subject matter aside, it had pleasant pictures tones and arrangements of the set to look at.

"Into the Woods" (1991)

a recording of a staged version of the musical "Into the Woods" [personal choice, not list generated] LOVED IT!!!! LOVED IT, LOVED IT!!!

"Days of Heaven" (1978)

repeated use of Saint Saens's "Aquarium". ? I don't have anything else about this film figured out--not without being snarky--except the nature shots. Yeah, they're close to gorgeous; nothing snarky about that.

"Tabu: A Story of the South Seas" (1931)

Sort of a "Romeo and Juliet" story--only it's love vs. a cultural taboo instead of family vs. family. Tragedy ending. Music seemed to be in the spirit of Berlioz. Starts with a lady vs. lady fight. No fights between the guys--well, unless you count the shark. I suppose this gives away a lot of the story, but it doesn't seem like this film is really about the story. Kind of like Greek Tragedies--everybody already knows whats going to happen (even though I didn't), you go to see the story portrayed.

"Cimarron" (1931)

1st Western to win Best Picture. Definitely a picture made at a time of different cultural values--both in the characterization of the story, in the story line, and in the story telling/filming itself.

"With Byrd at the South Pole" (1930)

It's a documentary that won a cinematography academy award. Picture-wise, I can see why. There's a brief shot from the top of a mast looking down at the boat. Then the shots from the plane itself as it headed to south pole. Plus all of the shots across snowscapes. My descriptions sound so dry; it really was a fascinating piece. I'd willingly watch it again. The music was...appropriate but cartoonish; definitely shows the attempt of music to influence mood. I have yet to read music film history--but sound to film was still pretty recent at this point.