Sweet Land of Liberty: Alfred Hitchcock’s SABOTEUR (Universal 1942)


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The Master of Suspense puts the pedal to the metal once again in SABOTEUR, another “double chase” spy thriller that doesn’t get the attention some of Alfred Hitchcock’s other films do, but should. I’ve always enjoyed the performance of Robert Cummings as the “ordinary man caught in an extraordinary situation”; his naturally laid-back, easygoing charm makes him perfect playing Barry Kane, accused of sabotaging a wartime aircraft plant and killing his best friend in the process, who winds up on a cross-country chase alongside reluctant heroine Priscilla Lane . SABOTEUR is certainly an  important film in Hitchcock’s body of work for one important reason: it’s the director’s first film for Universal Pictures, a studio he’d have a long and profitable association with, and where he’d later create some of his finest movies.

SABOTEUR is in many respects a loose remake of Hitchcock’s THE 39 STEPS , transplanted to America and…

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A Movie A Day #247: Play Nice (1992, directed by Terri Treas)


Homicide Detective Jake “Mouth” Penucci (Ed O’Ross) is the most hated man on the police force.  His partners hate him.  His ex-wife hates him.  His daughter will hate him once she is old enough.  Penucci is obnoxious, tells terrible jokes, and is haunted by his abusive childhood.  The only person that does not hate Penucci is Jill (Robey), who works in the records office.  Jill and Penucci are soon an item but it turns out that Jill has some kinky tastes, which make even Penucci nervous.  She wants him to beat her during sex and sometimes ask him to pretend that she’s a little girl.  At the same time that Penucci is trying to figure out how to have a normal relationship with Jill, he has been assigned to catch Rapunzel, a female serial killer who only targets men who have been accused of sexually abusing their daughters.  Could it all be connected?

Play Nice is a standard 1990s Skinemax neo-noir, distinguished by a few surreal dream sequences and performances that are better than what’s typically found in films like this.  The mystery would be interesting except that there is only one possible suspect so it is not at all surprising when that suspect is eventually revealed to be Rapunzel.  For many Skinemax watchers, the film’s main appeal was probably the beautiful Robey appearing in several nude scenes but Play Nice is also memorable for giving character actor Ed O’Ross a rare starring role.  O’Ross has spent almost his entire movie career playing corrupt cops and psychotic gangster but he does a pretty good job as Penucci, even if Penucci is not a typical hero.  Every good character actor should get at least one chance to play a lead and O’Ross makes the most of it in Play Nice.

A Movie A Day #246: Bloodsport (1988, directed by Newt Arnold)


Bloodsport is one of Jean-Claude Van Damme’s earliest films and it is Damme good!

Forgive the terrible opening line but that is how they actually used to advertise Jean-Claude Van Damme films.  Everything was either Damme exciting or Damme amazing or Damme spectacular.  Though it was made by Cannon and had a much lower budget than the films Van Damme made during his 90s heyday, Bloodsport is still a Damme quintessential Van Damme movie.

Bloodsport claims that the story it tells is true.  Frank Dux (Van Damme) is a U.S. Army captain who goes AWOL so he can compete in Kumite, an illegal martial arts tournament that is held in Hong Kong.  Kumite is the only martial arts tournament where it is legal to kill your opponent.  Chong Li (Bolo Yeung) became champion by killing anyone who lasts more than a minute with him.  At first, no one believes that an American like Frank Dux has a chance of winning the Kumite.  What they do not know is that Frank was trained by the legendary Senzo Tanaka.  Frank is not just competing for personal glory.  He is also competing in honor of Tanaka’s dead son.

Bloodsport is both Van Damme and Cannon Films at their best.  Shot on location in Hong Kong, Bloodsport not only features Van Damme doing his thing but also gives him a memorable sidekick, Ray Jackson (Donald Gibb), who talks like a professional wrestler and gets all of the best lines.  When Ray and Frank first meet, they bond over a video game that appears to be an extremely early version of Street Fighter.  Also keep an eye out for Forest Whitaker (!), playing one of the CID officers who is assigned to track down Frank and arrest him for desertion.

Like any good Van Damme film, Bloodsport lives and dies on the strength of its fights and it does not skimp on the blood, the chokeholds, or the high kicks.  Bolo Yeung is a great opponent for Van Damme but everyone know better than to try to beat Jean-Claude Van Damme.  When it comes to fighting Van Damme, Duke put it best:

Quirky Jerky: Jerry Lewis in THE BELLBOY (Paramount 1960)


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The late, great Jerry Lewis was not just a funny man, he was an innovative filmmaker whose talents behind the cameras matched his onscreen antics. Paramount Pictures gave him carte blanche on THE BELLBOY, his first film as producer/director/writer/star, a film with “no story, no plot, just a series of silly sequences” following the misadventures of Stanley, the world’s most inept bellboy. To the best of my knowledge it is the first of its kind… even W.C. Fields’ bizarre NEVER GIVE A SUCKER AN EVEN BREAK and Olsen & Johnson’s wacky HELLZAPOPPIN’ had some semblance of loose plot foisted on them by nervous studio execs!

Lewis was doing his nightclub act at Miami’s Fontainebleu Hotel at the time, and already had CINDERFELLA in the can. Paramount wanted a summer release, but Lewis thought the film would do better in the Christmas season, so he concocted this loose, madcap romp done…

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A Movie A Day #245: The Missouri Breaks (1976, directed by Arthur Penn)


After Tom Logan (Jack Nicholson) and his gang of rustlers (played by Randy Quaid, Frederic Forrest, and Harry Dean Stanton) rob a train, Logan uses the money to buy a small ranch.  Their new neighbor is Braxton (John McLiam), a haughty land baron who considers himself to be an ambassador of culture to the west but who is not above hanging rustlers and hiring gunmen.  One such gunman is the eccentric Robert E. Lee Clayton (Marlon Brando), a “regulator” who speaks in a possibly fake Irish brogue, is a master of disguise, and uses a variety of hand-made weapons.  Braxton hires Clayton to kill Logan and his men, despite the fact that his daughter (Kathleen Lloyd) has fallen in love with Logan.

A flop that was so notorious that it would be five years before Arthur Penn got a chance to direct another film, The Missouri Breaks is best remembered for Marlon Brando’s bizarre performance.  Brando reportedly showed up on the set late and insisted on largely improvising his part, which meant speaking in a comical Irish accent, singing an impromptu love song to his horse, and disguising himself as an old woman for one key scene.  (According to Patrick McGilligan’s Jack’s Life: A Biography of Jack Nicholson, co-star Harry Dean Stanton grew so incensed at Brando’s behavior that he actually tried to rip the dress off of Brando, saying that he simply would not be “killed’ by a man wearing a dress.)  Brando’s later reputation for being a disastrously weird performer largely started with the stories of his behavior on the set of The Missouri Breaks.

I had heard so many bad things about Brando and The Missouri Breaks that I was surprised when I finally watched it and discovered that it is actually a pretty good movie.  For all of his notoriety, Brando does not enter this leisurely paced and elegiac western until after half a hour.  The majority of the movie is just about Jack Nicholson and his gang, with Nicholson giving a low-key and surprisingly humorous performance that contrasts well with Brando’s more flamboyant work.  While Arthur Penn may not have been able to control Brando, he still deftly combines moments of comedy with moments of drama and he gets good performances from most of the supporting cast.  Quaid, Stanton, Forrest, and Nicholson are all just fun to watch and the rambling storyline provides plenty of time to get to know them.  Whenever Brando pushes the movie too close to self-parody, Nicholson pulls it back.   The Missouri Breaks may have been a flop when it was released but it has aged well.

What Lisa Watched Last Night #169: My Baby Is Gone! (dir by Steve Bacic)


Last Monday, I watched the Lifetime premiere movie, My Baby Is Gone!  I should have reviewed it on Tuesday but, to be honest, I spent all of last week trying to figure out if Carrie was actually Laura Palmer and if Dale Cooper ever actually escaped the Black Lodge or not.  So, this review is a week late and for that, I apologize even though I think anyone who would require an apology is kind of a jerk.

Why Was I Watching It?

Seriously, what’s been going on with Lifetime lately?  It used to be that every Saturday night saw the premiere of a new Lifetime film.  Live tweeters across the country would look forward to every new Lifetime film.  We transformed several of those films into trending topics.  We did our part.

But, for some reason, this year has seen a different Lifetime.  More often than not, Lifetime airs an old movie on Saturday and saves the premiere for Sunday.  Sorry, Lifetime.  I love you but if I have to choose between a new movie and Twin Peaks, Game of Thrones, The Walking Dead, The Deuce, Big Brother, and almost everything else that I can watch on Sunday night, anything that Lifetime premieres on Sunday is probably going to end up sitting on my DVR for a while before I actually watch it.

However, My Baby is Gone! did not premiere on Sunday.  It premiered on Labor Day, so, for the first time in what seemed like forever, I was actually able to watch and live tweet the movie as it aired.  Seriously, Lifetime, get it together.  Nobody wants to watch a Lifetime premiere on Sunday.

What Was It About?

Emily (Elisabeth Harnois) is 8 months pregnant.  Her husband (Ryan S Williams) seems to be a good guy but he works too hard and sometimes, he misses Emily’s checkups.  Her best friend (Nicole LaPlaca) is supportive but she also works with Emily’s husband so, of course, it’s reasonable to assume that they’re probably sleeping together.  This is a Lifetime movie, after all.  After you’ve seen enough Lifetime movies, you know there’s no way that men and women can ever just be co-workers.

(Unless, of course, they’re cops.  In that case, they’re just ineffectual and inevitably end up arresting the wrong person.)

Luckily, someone new has moved in across the street!  Kelly (Anna van Hooft) is super-friendly and helpful and — oh my God! — she’s eight months pregnant too!  Kelly says that she’s just staying in the house until her aunt returns.  What no one knows, of course, is that Kelly’s actually got her aunt tied up in the basement.

Oh, and it turns out that Kelly isn’t really pregnant, either.  She’s just wearing a fake belly.  It’s actually kind of obvious but, at first, everyone just takes Kelly at her word.

Soon, Kelly is drawing Emily away from her husband and her best friend.  She even convinces Emily to decorate the nursery with flamingos instead of butterflies!

What could Kelly’s nefarious plan be?

What Worked?

Uhmm… I’m thinking about it…

Actually, I had a lot of fun live tweeting this film.  My Baby is Gone! is one of those movies that literally brings out the best in a snarky audience.  There’s just so many implausible developments and none of the characters are likely to be mistaken for a member of Mensa.  It’s a fun movie to watch if you’re looking for an excuse to spend two hours wondering how people can be so stupid.

Anna Van Hooft did a great job as Kelly.  If you’re going to play a character who is batshit crazy in a Lifetime film, you might as well go all out.  When you’re in a movie with a title like My Baby is Gone!, the time for subtlety is over.

What Did Not Work?

Even by the standards of Lifetime, the plot was just too implausible to work.  I mean, the whole fake belly thing was a lot more convincing when it used in A Deadly Adoption.

“Oh my God!  Just like me!” Moments

My favorite character was Pam (Amelia Burstyn), who was Emily’s doctor’s administrative assistant and who showed absolutely no hesitation about sharing the details of another patient’s visit.  It may not have been the best example of professional ethics but sometimes, you have to break the rules.

Lessons Learned

Butterflies are better than flamingos.

Ride Away: John Wayne in John Ford’s THE SEARCHERS (Warner Brothers 1956)


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John Ford’s  THE SEARCHERS is without question an American Film Classic. I’d even go as far as saying it’s my second all-time favorite film, directly behind CASABLANCA. Every shot is a Remington Old West masterpiece, every actor perfect in their role, large or small, and not a minute of footage is wasted. The film has also stirred up quite a bit of controversy over time for John Wayne’s portrayal of the main character Ethan Edwards.

The plot is structured like Joseph Campbell’s “Hero’s Journey”, but let’s get it out of the way right now: Ethan Edwards is no hero. He’s a mean, bitter, unreconstructed Confederate who’s been on the shady side of the law since war’s end. When he returns to his brother Aaron’s homestead, he makes no bones about his distaste for “half-breed” Martin Pawley (really an eighth Cherokee). His hatred of Native Americans even extends to their dead, as…

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A Movie A Day #244: Death of a Gunfighter (1969, directed by Allen Smithee)


At the turn of the 20th century, the mayor and the business community of Cottonwood Springs, Texas are determined to bring their small town into the modern era.  The Mayor (Larry Gates) has even purchased one of those newfangled automobiles that have been taking the country by storm.  However, the marshal of Cottonwood Spings, Frank Patch (Richard Widmark), is considered to be an embarrassing relic of the past.  Patch has served as marshal for 20 years but now, his old west style of justice is seen as being detrimental to the town’s development.  When Patch shoots a drunk in self-defense, the town leaders use it as an excuse to demand Patch’s resignation.  When Patch refuses to quit and points out that he knows all of the secrets of what everyone did before they became respectable, the business community responds by bringing in their own gunfighters to kill the old marshal.

Death of a Gunfighter is historically significant because it was the very first film to ever be credited to Allen Smithee.  The movie was actually started by TV director Robert Totten and, after Widmark demanded that Totten be fired, completed by the legendary Don Siegel.  Since Totten worked for 25 days on the film while Siegel was only on set for 9, Siegel refused to take credit for the film.  When Widmark protested against Totten receiving credit, the Director’s Guild of America compromised by allowing the film to be credited to the fictitious Allen Smithee.

In the years after the release of Death of a Gunfighter, the Allen (or, more often, Alan) Smithee name would be used for films on which the director felt that he had not been allowed to exercise creative control over the final product.  The Smithee credit became associated with bad films like The O.J. Simpson Story and Let’s Get Harry which makes it ironic that Death of a Gunfighter is not bad at all.  It’s an elegiac and intelligent film about the death of the old west and the coming of the modern era.  It also features not only one of Richard Widmark’s best performances but an interracial love story between the marshal and a brothel madame played by Lena Horne.  The supporting cast is full of familiar western actors, with Royal Dano, Harry Carey, Jr., Larry Gates, Dub Taylor, and Kent Smith all making an impression.  Even the great John Saxon has a small role.  Though it may be best known for its “director,” Death of a Gunfighter is a film that will be enjoyed by any good western fan.

A Movie A Day #243: The Joe Louis Story (1953, directed by Robert Gordon)


Joe Louis, also known as the Brown Bomber, is generally agreed to have been one of the greatest heavyweight boxers of all time.  Despite the barriers put up by both poverty and racism, Louis held the world heavyweight championship from 1937 to 1949 and successfully defended his title in 26 fights (ranking him second to only Julio Cesar Chavez, who had 27 title defenses).  In 1938, he defeated German Max Schmelling, disproving Nazi claims that a black man could not defeat an Aryan and making Louis, along with Jesse Owens, one of the first African-American athletes to achieve nationwide hero status in America.

The Joe Louis Story, which was made and released shortly after Louis lost his final fight to Rocky Marciano and announced his retirement from boxing, tells an effective but sanitized version of Louis’s life story.  Made on an obviously low budget, The Joe Louis Story hits all the highlights — Joe’s relationship with trainer Jack Blackburn (James Edwards), Joe’s marriage to Marva Trotter (Hilda Simms), Joe’s two fights against Max Schmelling, and Joe’s time in the army — while ignoring most of the lowlights.  No mention is made of Joe’s financial troubles, Joe’s initial struggle to even get a match against the white heavyweights of the day, or the infidelity that led to Joe and Marva’s divorce.  The Joe Louis Story does briefly touch on racism when Joe is told that, as a black man, he already has a strike against him as far as the boxing establishment is concerned.

The best thing about The Joe Louis Story is that it features footage from Louis’s actual fights. Coley Wallace, the boxer who was hired to play the title role, bore a remarkable resemblance to Joe and the footage of the real Joe Louis boxing is easily mixed in with scene of Wallace as Joe.  Wallace was not much of an actor but, as a real-life boxer, he still brought enough authenticity to the role that his casting works.

One final note: In real life, Joe Louis ended his career after a brutal loss to Rocky Marciano.  Before turning pro, Marciano lost four fights as an amueter.  One of those losses came in 1948 when Marciano was defeated in the final round of the New York Golden Gloves tournament.  The fighter who defeated Rocky Marciano?  Coley Wallace.

A Movie A Day #242: Bruce Lee, the Legend (1984, directed by Leonard Ho)


From Golden Harvest comes this tribute to their biggest star, Bruce Lee.

Starting with Lee’s birth and early film career and ending with Lee’s mysterious death and posthumous fame, Bruce Lee, The Legend is a breezy documentary about the world’s greatest martial arts star.  Since it was made by Golden Harvest and designed to serve as a tribute to both Bruce’s life and his continuing fame, do not expect to hear a negative word about Bruce in Bruce Lee, The Legend.  Then again, I don’t think I have ever come across anything negative about Bruce Lee.  While Bruce Lee probably was not as saintly as he’s portrayed in this documentary, every thing that I’ve read about Lee indicates that there was little difference between who Lee was in real life and who Lee was in the movies.

For fans of Bruce Lee, the most interesting part of this documentary will be the clips of Bruce as a young actor, often playing juvenile delinquents in films that were never widely released in the United States or Europe.  Judging from the clips shown, Lee’s movie star charisma was present even when he was a teenager.  The documentary also provides details about Bruce’s father, a stage actor who was well-known for his work in what the documentary describes as being Hong Kong’s “version of vaudeville.”  Of course, this documentary also contains clips from Lee’s better-known films, like Enter the Dragon, Way of the Dragon, and The Big Boss.  Even in brief and out-of-context clips, Lee is always exciting to watch.