Greetings, fellow lovers of movies and cats! So, Jeff and I just saw the new comedy, Keanu. It’s the first film to star the quickly-becoming legendary comedy team of Keegan-Michael Key and Jordan Peele and it’s full of the type of humor that made their Comedy Central show, Key & Peele, such a success. Perhaps even more importantly, the film stars an amazingly adorable little kitten!
You’ve seen the trailer, right? You know how, when Peele first holds up his new kitten, Key immediately starts laughing and says, “Oh my God, that’s the cutest cat I’ve ever seen in my life!?” Well, he’s not lying. While I don’t think any cat is cuter than that one that I live with, Keanu the Kitten is definitely the cutest cat that I’ve ever seen in a movie.
Add to that, this kitten can act! When this kitten stares, you truly believe that he’s listening to the dialogue being exchanged. When he runs through a gunfight while bullets fly around him, you truly believe that this kitten is running for his life and you breathe a sigh of relief when he survives. When he meows, your heart melts with each squeaky sound. This is one amazingly talented kitten!
And it’s not surprising the everyone in the film wants Keanu. The 17th Street Blips (led by Method Man and created as the result of a merger between the Bloods and the Crips) not only want Keanu but they want to rename him New Jack as well. Their rival (played by Luis Guzman) wants Keanu and plans to rename him Eglesias. Two mysterious assassins — the much feared, very sadistic, and always silent Allentown Boys — want Keanu too. Since they don’t speak, they never say what they want to name him but it would probably be something cool.
And what really makes the film work is that none of them have a reason for wanting Keanu beyond the fact that he is literally the cutest kitten in Los Angeles. This film is full of dangerous and violent people but all of them love this cat. Everyone wants Keanu.
Well, I should say that everyone wants Keanu except for Anna Faris, who plays herself. All Anna Faris wants is a chance to do the latest designer drug, Holy Shit. (“It’s like smoking crack with God!” Method Man explains.) It’s probably a good thing that Anna Faris doesn’t want a cat because, as this movie reveals, she also has a potentially dangerous fascination with sharp swords and playing truth or dare.
Of course, Keanu technically belongs to Rell (Jordan Peele). They say that cats chose their owners and Keanu definitely does that when he shows up outside of Rell’s house. Rell has just been dumped by his girlfriend and existence has no meaning for him. But once Keanu shows up, Rell again learns to embrace life. He spends two weeks taking pictures of Keanu reenacting scenes from classic movies. But when the 17th Street Blips break into his house, mistakenly thinking that Rell has a supply of Holy Shit, they take Keanu for themselves.
Rell and his cousin Clarence (Keegan-Michael Key) team up to track down and retrieve Keanu from the Blips but there’s a problem. Rell may brag about growing up in New York and Clarence may have stories about his childhood on the streets of Detroit but both of them are painfully out-of-place in the violent world of Blips and Anna Faris. (Clarence is obsessed with George Michael while Rell “sounds like John Ritter all the time.”) Fortunately, Rell and Clarence happen to look exactly like the Allentown Boys. Method Man makes a deal with them. If Rell and Clarence — who are now going by the names TekTonic and Sharktank — train the Blips then he will give them Keanu.
(Method Man’s character is actually named Cheddar. Jeff just pointed out to me that Method Man previously played a character named Cheese on The Wire.)
While Rell struggles to fit in with the Blips, the nominally more straight-laced Clarence (who, unlike Rell, doesn’t even smoke weed) is soon having the time of his life. It turns out that Clarence specializes in corporate team building and he’s excited to introduce these techniques to Blips. (During one shootout, Clarence proudly announces, “They’re communicating!”)
Admittedly, Keanu is an uneven film. It’s essentially a collection skits and some of them are funnier than others. However, Key and Peele both bring so much commitment to bringing this insane story to life that they literally carry the audience over the occasional rough spot. It may not be perfect but it’s a film that announces that, whether on TV or in the movies, Key & Peele are a comedic force to be reckoned with.
Plus, that kitten is so damn cute!
(And, in case you were wondering, Keanu Reeves does make an appearance of sorts.)
This film is 90 minutes of laughter and that’s certainly something that we all need right now! See Keanu!
(Since you’ve probably already seen the trailer for Keanu — here it is, if you haven’t — let’s close this review with some exclusive audition footage.)
About a month ago, for reasons that I’m sure made sense at the time, I decided it would be fun to watch and review all 50 of the films included in Mill Creek’s Fabulous Forties box set. If you know anything Mill Creek box sets, then you won’t be surprised to learn that the majority of these 50 films are public domain B-movies. A few of them have been good, a few of them have been bad, and a few of them have been forgettable.
I have to admit that, as much as I love watching old movies, there’s a part of me that’s more than ready to move onto the next Mill Creek box set, the Nifty Fifties. But, before I do that, I have to finish up the Forties. Fortunately, I just watched the 25th film included in the Fabulous Forties and I am happy to say that I am now halfway done with this project! Yay!
As for the film itself, it’s a 63-minute film from 1941. Though it was later retitled Drums of Africa, it was originally called Jungle Man.
As for what Jungle Man is about … well, it’s mostly about stock footage.
There is kind of a plot. Wealthy Bruce (Weldon Heyburn) and his friend Alex (Robert Carson) want to go to Africa so that they can see the legendary City of the Dead. Bruce’s fiancée, Betty (Sheila Darcy), decides to accompany them because she wants to visit her brother (Charles Middleton), a missionary. Once they get to Africa, they also meet a doctor (Buster Crabbe) who is trying to find a cure for a fever that is wiping out the native population.
But really, the plot is mostly just an excuse for stock footage. We watch as our explorers walk down a jungle trail. Someone says, “Look up in that tree!” We cut to grainy footage of a monkey in a tree. Cut back to everyone looking upward. Cut back to that monkey in the tree. Suddenly, we hear a roar on the soundtrack. Cut to slightly less grainy footage of a tiger running through a field. Cut back to the explorers saying, “Look out, tiger!” Cut back to the monkey climbing up higher in the tree.
(Of course, tigers don’t live in Africa but that’s just the type of film this is!)
Even when our heroes finally reach the City of the Dead, we don’t actually see them walking around the city. Instead, we see them staring into the distance and then immediately cut to some still shots of what Wikipedia identifies as being Cambodia’s Angkor Wat. Of course, no attempt is really made to match any of the shots. If Jungle Man was made today, they could just CGI the Hell out of it. But since it was made in 1941, audiences had to suspend their disbelief and accept shots that didn’t particularly match up with any other shots and a storyline that was pretty much determined by whatever stock footage the producers had available.
On the plus side, it’s only 60 minutes long and some of the stock footage is fun, particularly if you like cute monkeys or fierce tigers. For the most part, it’s silly but inoffensive.
And you can watch it below!
(I should admit that, as I watched it, I kept thinking about those GEICO commercials where Jane and Tarzan are lost in the jungle and Tarzan refuses to ask for directions. “Tarzan know where Tarzan go.” “No, Tarzan does not know where Tarzan go. Excuse me, do you know where the waterfall is? The waterfall?”)
The 24th film in Mill Creek’s Fabulous Forties box set was the 1949 British comedy, Passport to Pimlico! Even though Passport to Pimlico is very much a British film (for instance, I had to use Wikipedia to discover the Pimlico is a neighborhood in London) and definitely a product of its time, it’s still a film that felt very relevant to some of the things that all of us in America are dealing with today. If nothing else, Passport to Pimlico is definitely more memorable than Freckles Comes Home.
Passport to Pimlico opens in London. World War II may be over but the city is still in the process of rebuilding. War-time rationing is still in effect and all the residents of Pimlico regularly have to deal with the endless red tape of bureaucracy. As well, there’s still unexploded German bombs littered around the neighborhood. When a group of local children accidentally blow one of those bombs up, it leads to the discovery of a previously hidden cellar. Inside the cellar is everything you could hope to find in a mysterious room: artwork, jewelry, and coins. There’s also a parchment from the 15th Century, in which the king of England ceded the neighborhood to the final Duke of Burgundy. Because no one knew that the charter existed, it has also never been revoked. As a result, all of the citizens of Pimlico are actually citizens of dukedom of Burgundy.
That means two things: First off, the citizens are legally required to live under the laws of Burgundy, despite the fact that the dukedom no longer exists and those laws haven’t been changed since the 1400s. Secondly, the neighborhood is no longer governed by the restrictive bureaucracy of postwar Britain. In short, Pimlico — or Burgundy, as it is now called — is a free and independent state.
Soon, the nation of Burgundy is being overrun by greedy businessmen and enthusiastic shoppers. The British respond by surrounding Burgundy with barbed wire and announcing that no one may cross the border. The Burgundians react by demanding that anyone riding the underground through their country have a passport or run the risk being kicked off the train.
And things only escalate from there. The British government is desperate to put Burgundy in its place while the citizens of Burgundy are determined to maintain their independence. If Passport to Pimlico were made today, this is probably one of those situations that would either end in tragedy or with everyone learning not to question the whims of the government. Fortunately, Passport to Pimlico was made in 1949 and, as a result, it is a genuinely warm-hearted comedy that celebrates both individual freedom and patriotism.
And really, it’s an enjoyable little film. The cast is full of British character actors, all of whom deliver their dialogue with just the right amount of snark. I enjoyed it and I have to admit that I related to it a bit. As I look at America today and I think about what it’s going to be like in 2017 (regardless of who wins the presidential election because, let’s be honest, they all suck), there’s a part of me that would love a chance to get out of this country and be a Burgundian.
Seriously, come 2017, I’m seceding!
Until then, I guess I can just watch Passport to Pimlico.
The 23rd film in Mill Creek’s Fabulous Forties box set was an hour-long “comedy” from 1942. The name of the film was Freckles Comes Home and I have to admit that I’m struggling to come up with anything to say about it. That’s the thing about these Mill Creek box sets. Occasionally, you’ll come across a really good movie and, even more frequently, you’ll come across a really bad movie. But often times, you find yourself watching filler. If I had to guess, Freckles Comes Home was probably a movie that was made to act as the 2nd half of a double feature. Not much money nor effort was put into it. It’s not terrible and it’s certainly not good. It’s just sort of there.
With a title like Freckles Comes Home, I was expecting this movie would be about a lost dog but it turns out that I was wrong. Freckles (played by Johnny Downs) is a human being. He’s returning home from college because a friend of his has inherited some real estate and isn’t sure what to do about it. While sitting on the bus home, Freckles spends so much time talking about how much he loves his hometown that the man sitting next to him decides that maybe he’ll make that town his home as well. Unfortunately, that man is Muggsy Dolan (Walter Sande). As you would expect with a name like Muggsy, Dolan is a criminal on the run.
Back in town, Freckles attempts to convince his father not to build a road that will go through his friend’s property. He also romantically pursues a childhood friend named Jane (Gale Storm), despite the fact that everyone insists that Jane can do better than Freckles. (Personally, I was wondering why — in the year 1942 — a young man like Freckles wasn’t overseas, fighting for his country. DON’T YOU KNOW THERE’S A WAR ON, FRECKLES!?) Meanwhile, Muggsy is plotting to rob the town bank…
And then there’s Jeff (Mantan Moreland), who is the porter at the local hotel. Jeff thinks that he has a machine that will allow him to find buried gold. And since Jeff is an African-American in a 1940s film, it’s impossible to watch the way the movie treats him without cringing. There’s a few scenes where Moreland, as an actor, subtly suggests that Jeff is smarter than the movie gives him credit for and certainly, Moreland’s performance is the most memorable in the film but that really doesn’t make the role any less demeaning.
Anyway, Freckles Comes Home was largely forgettable. I assume that audiences in the 1940s may have enjoyed it (especially if it was included on a double bill with a more interesting movie) but, seen today, there’s just not that much to be said about it. It exists, it’s something of a time capsule, and that’s pretty much all there is to say about it.
For nearly a month now, I’ve been making my way through the 50 films included in Mill Creek’s Fabulous Forties box set. Like most Mill Creek box sets, the Fabulous Forties is full of public domain films. Some of them are surprisingly good and some of them are surprisingly bad. And then there are others that are somewhere right in the middle of bad and good. These are films that may not be great works of cinematic art but, at the very least, they serve as a time capsule of the period in which they were made.
The 22nd film in the Fabulous Forties box set, 1948’s Adventures of Gallant Bess, is just such a film. Obviously made to appeal to family audiences, Adventures of Gallant Bess tells a fairly predictable story. Cowboy Ted Daniels (a youngish Cameron Mitchell) captures a wild mustang named Bess. Ted and Bess soon become inseparable but, during a visit to the local town, Bess gets riled up and destroys a few cars. Ted is told that he has to pay for the cars but he doesn’t have any money. So, he enters the local rodeo.
However, the rodeo is operated by the evil Bud Millerick (James Millican) and Bud wants Bess for his own. So, he arranges for Ted’s leg to be broken by a bull. Injured and unable to work, Ted is forced to sell his beloved Bess to Bud. Once Ted recovers, he discovers that Bud is abusing Bess and forcing her to perform in a demeaning rodeo show. What’s a cowboy to do but steal back his horse?
You can probably guess everything that happens in Adventures of Gallant Bess just from reading the plot description but it’s still a pretty likable film. Bess is a wonderful horse and there’s something oddly endearing about the obviously cheap sets and the often melodramatic performances. Cameron Mitchell, of course, is best known for appearing in films like Blood and Black Lace, The Toolbox Murders, The Demon, The Swarm, and Space Mutiny, so it’s definitely interesting to see him playing a simple and honest cowboy here.
(It’s actually difficult to recognize Mitchell until he smiles. Once you see that smirk, you know exactly who is playing Ted Daniels.)
Adventures of Gallant Bess was filmed in color, which was a big deal in 1948. Seen today, it is so saturated with color (and so obviously filmed on sound stages) that the movie actually looks like a live action cartoon. Seen today, it’s perhaps a little too easy to be dismissive of this old-fashioned film but I imagine that, in the 40s, it was quite a fun movie to watch.
Hi everyone! So, as you may have noticed, I haven’t been posting as much as usual. That’s because, for reasons that y’all really don’t want me to go into too much detail about here, I’ve been feeling under the weather since Friday. But, fear not, I will survive!
BUT SERIOUSLY — this trailer must be watched! If you haven’t seen the red band trailer, watch it first. And then watch the latest version and prepare to drown in the cuteness of it all!
Keanu’s opening on Friday! You better believe that, sick or not, I’m going to be there!
Okay, let’s get them out of the way right up front. If you felt burned by Chance at Romance, then take a chance on Love by Chance. That’s the first joke that came to mind when I heard the title of this movie. Lucky for me, it turned out to be accurate. This is one of the best Hallmark movies I’ve seen so far. I am up to 168 at the time of writing this. The other thing is this opening piece of stock footage.
They cut to that right after a shot of the space needle, which told us this is supposed to be Seattle. There’s no way someone realistically would notice this while watching the movie, but I did when I went over my screenshots to write this review. Look at the street signs. I’m pretty sure this is stock footage from China. Either that, or it’s a Chinatown somewhere. Those street signs have Chinese characters on them and the Romanized version of those characters. I looked where they got their stock footage for this film and couldn’t find it.
Now let’s talk about the movie.
The movie opens up by reminding us that pastries exist before teasing long time Hallmark fans as to whether they can figure out if the bakery is using the same set as the kitchen from the Murder, She Baked series. It isn’t. This one is much larger whereas the kitchen in that series always felt surprisingly claustrophobic in its size. During this we are introduced to our secondary lady of the film named Claire Michaels played by Beau Garrett.
That’s right! I said secondary. This isn’t really her movie and how she ends up with Eric Carlton played by Benjamin Ayres. Hallmark knew this. It’s Brenda Strong that they interviewed on Home & Family to plug this movie, not Beau Garrett. I don’t watch the show, but this always pops up during the credits of these movies. They tease a talk with the star of the movie that you just watched.
Brenda Strong plays the mom named Helen Michaels. Despite her being in a lot of stuff over the years people probably still remember her best from the couple of episodes of Seinfeld she was is in back in the 90s as Sue Ellen Mischke. Since I don’t have that particular season of Seinfeld, you are stuck being reminded that she was in the lousy film The Leisure Class last year.
The Leisure Class (2015, dir. Jason Mann)
Or I’m sure if Lisa could, then she would have me insert a Degrassi animated GIF to describe just how much she disliked that movie.
By the way, along with Bridget Regan who was in The Magic Stocking, that makes two actors from The Leisure Class who were also in Hallmark movies in the past year.
The other main actor in this film is Brenda Strong’s husband Sam Michaels played by actor Garwin Sanford.
You have no idea how much it bothered me trying to remember where I knew this guy from. I sometimes wish Hallmark would popup a thing on the screen that would say, “Here’s where you might know such and such actor from.” In his case, he played Narim on Stargate SG-1.
He was kind of the humans go between guy with one of the very advanced races the team encountered along with the Tokra, The Nox, and The Asgard. The difference was that the Tollan were incredibly arrogant, isolationist, and thought their superior technology meant they were automatically safe from any threat. They were practically offended at the idea that someone would say they might be in trouble. In the end, their race was brutally wiped out.
Stargate SG-1
With Garwin Sanford showing up in this movie, that makes at least two major/very memorable side characters who have shown up in Hallmark movies from Stargate SG-1 in the past month with Michael Shanks being in Hearts of Spring. I especially bring up Sanford’s role on that show because if you do remember him from that series, then know that he plays the husband in a similar fashion. In Stargate SG-1 he was level-headed, kind, charming, had a bit of a child-like wonder about things, and a great deal of maturity about him and the way he spoke. That’s him in this movie to Brenda Strong’s nutty matchmaking mother. Whereas in that he was that to Amanda Tapping who incidentally was named Samantha, but was always called Sam. I’m sure that’s not a coincidence on Hallmark’s part that his name in this movie is Sam.
The parents are so much the center of attention of the movie here that I am going to kind of treat this like a Godfrey Ho movie. If you already have heard me explain what that means in another review, then you feel free to skip over this explanation. Ho was a director in Asia who popularized the cut and paste technique of filmmaking. He would take old or unreleased films from the region, shoot some footage with caucasian actors, then clumsily spliced them together. In reviewing his films, it’s common practice to review each set of footage separately, while occasionally mentioning how the two unrelated plots are connected. Sometimes you will even find the caucasian footage on YouTube edited out of the other original film. That’s how I’m going to review this movie. I’m mainly just going to tell the story as if the whole thing plays on the parents side with some minor connections to the other story since that’s really how it is.
The film opens up and meet Mom walking outside with a confidence as if she is going to break into the theme song from That Girl before coming into her daughter’s bakery
She really tries to set up her daughter. She even just gave out her phone number to a guy. She is holding a party at her daughter’s bakery so that she can attempt to set her up again while also trying to help out her business.
At the party Mom is trying to explain to her daughter who this man is that she called out of the blue. This is also when we find out Mom and Dad are about to go globetrotting. At least that’s the plan. Enter Dad!
A little side thing to mention. The actor on the right in the picture below, named John Cassini, is excellent in this.
He’s one of those quality characters actors that can make a big difference in a movie. His character’s name is Marco and is the daughter’s close friend at the bakery.
The attempt at matchmaking continues from the party into the kitchen. After complimenting her on her smile and sealing the deal on her going on a date with a guy, she gives a smile herself that either says, “that’s my daughter!” or, “I’m going to kill you in your sleep.”
I love Brenda Strong in this.
I gotta give it to this first guy she goes out with. He’s kind enough to realize that she is going to need a lot of wine to get through his boring story.
At home, Mom and Dad are having a conversation about their daughter finding love. While Mom is preoccupied with finding her daughter a lover, he is wondering what ever happened to them spending their retirement together. That will be the main part of this story. The Mom becoming so obsessed that the Dad all but up and quits the idea of going to Italy. If he were an idiot he would have even thought she was cheating on him at one point.
Now Mom goes too far and signs up her daughter on a dating website. I know it’s a Hallmark cliche, but this may be the first Hallmark movie since The Color of Rain that I’ve seen what I am quite sure is Linux showing up in a Hallmark movie.
Who cares that the URL isn’t quite right because it’s Brenda Strong using Linux! That’s awesome.
We also have the return of the use of IMDb publicity photos within the movie.
Mom actually sets up a date with this guy. No, I don’t mean that she tells her daughter to meet with this guy. I mean that she actually meets with the guy at a bar and tries to sell him on her idea of meeting her daughter. I love when he asks her if she’s done this before. You’d expect an answer like, “No, but I’m desperate to find her someone.” Nope! She just casually mentions that she has done it twice already before continuing with her pitch as if there is nothing unusual going on. Luckily, the fact that the camera keeps cutting behind these things…
doesn’t prevent the guy on the right from jumping in. That’s Dr. Eric Carlton (Benjamin Aryes). He’s actually there waiting for someone, but she’s called away on the grounds that this is a Hallmark movie as soon as she shows up. After telling him that “Doctor Gorgeous” isn’t for him, she gives him his card and actor Benjamin Ayres gives us a great look on his face.
He tries to pass this off to “Doctor Gorgeous” as her just being a real estate agent. Ha! Mom isn’t going to be dissuaded by any of this.
Mom shows up the next day at his practice, it turns out the secretary/nurse knows her, and she immediately uses that to coerce him into going to get coffee with her. Cue Benjamin’s face!
Just as he’s leaving, a colleague of his says out loud, “Why can’t I ever meet older, married women?”
This is when Mom goes into full real estate agent/matchmaker mode. She actually convinces him here, and this sales pitch continues outside.
It’s about here where we find out that at least part of this movie was filmed in Maple Ridge, British Columbia. I think that’s a new one on me for a Hallmark movie.
Mom has invited him to a fundraising gig to meet her daughter. The fundraiser is being held at a gallery that is actually at 3045 Granville St, Vancouver, BC V6H 3J6, Canada.
After Mom tries to pry her daughter for some details, Mom and him meet again to talk.
Turns out he likes the daughter, but has a little problem. That problem being her mother. Think that’s gonna stop her?
After a short conversation between Mom, Dad, and their daughter we discover something.
That’s right! While this film is going on,…
I Do, I Do, I Do (2015, dir. Ron Oliver)
Autumn Reeser is about to enter her own version of Groundhog Day and…
Hearts of Spring (2016, dir. Marita Grabiak)
Lisa Whelchel is about to enter the Mommy Blogger’s Convention.
This building is clearly the romantic nexus of Hallmark films.
Now Dad is starting to get really confused about what happened to them enjoying their retirement.
Mom meets with Eric again and tells him that it has to be her to tell the daughter she set this up. Mom now tries to find a way to tell her daughter by setting up a shopping trip with her. Dad is getting more fed up with all of this.
On this trip, the daughter drops into the conversation that one of the things she loves about her new relationship is that “somehow we found each other.” She says it’s just “like you and Dad.” Of course, it will turn out that it was no chance Mom met Dad either. Another great look from Brenda Strong that sums up her character at this point quite nicely.
Now Mom and Dad have a conversation over a map of Italy. This is probably the most adult and realistic conversation you’ll hear in a Hallmark movie.
While Brenda Strong has the majority of the scenes in this movie, Garwin Sanford plays every single one of his scenes perfectly.
Mom has a heart to heart with Eric, but this is where things go really wrong…sort of. The Uncle (Peter Graham-Gaudreau) of the family sees Mom and Eric on a bridge talking, snaps a photo, and goes to Dad with it. Dad is preoccupied at first with a fountain that looked smaller online, but then he hears the Uncle out. To which we get this.
He immediately goes to the computer and finds out that his wife set up their daughter on a dating website. How it was all just sitting there instantly waiting to be discovered or why she was looking at dating profiles for a guy named George who is using location manager Braden Jennings’ picture or Producer, Cinematographer, and owner of Bass Tracks films Stefan Berrill going under the name of Neal, we are never told. Dad goes and has a long talk with Mom. She confesses that she kind of setup their meeting up too. It’s sweet and all, but he knows that their daughter might not see what she did so nicely the way he does concerning their meeting. However, at the end of the day they still are a long married couple that loves each other so the real outcome of their talk is that the both agree the fountain really is big.
Mom and Dad now make a full confession to the daughter. I love that one of the daughter’s responses is “Ok, so he witnessed your insanity and he still thought it was a good idea to meet your daughter?”
We now discover where the bakery is in real life.
It’s Mc Burney Coffee & Tea House at 20504 Fraser Hwy, Langley, BC V3A 4G3, Canada. Hallmark really likes shooting in Langley. If you are curious, the restaurant from Appetite For Love is just a little east along Fraser Highway from this place.
Mom has a talk with Eric, then a nice talk with Dad. They are okay, and Mom agrees to back off.
In the end, the young couple forgives all of these issues and kisses.
Meanwhile! Yes, the daughter has had her own plot this whole time. While Mom, Dad, and Eric were doing their thing and having a few scenes with the daughter, Claire and her friend Marco have been trying to prepare for a restaurant critic named The Wandering Gourmet. They mistake several people for this critic. They fuss about it. Of course that works out too.
If you’re coming to this movie to see yet another young love film with the parents played by quality actors pushed into the background, then go elsewhere. The movie is a story about a woman who is going to be leaving to go to Italy with her husband, but feels this unbearable feeling that she can’t leave without knowing her daughter has found love. In the end, she lets go of it. Of course the love thing has to work out cause it’s Hallmark, but it could have just as easily ended without that part. I think I’ve mentioned just about everyone here, but you might be wondering how Beau Garrett’s performance is here. She’s perfectly fine. There’s just not much for her to do so it’s not a performance to really judge her on. You are watching this movie for Brenda Strong, Garwin Sanford, Benjamin Ayres, and John Cassini in a good supporting role. It’s their film.
Shock opens with a young housewife named Jane Stewart (Anabel Shaw) waking from a dream, getting out of bed, looking out a window, and seeing something rather serious happening in the house next door. A man and a woman are arguing. Though Jane doesn’t recognize the man, horror fans will immediately realize that he’s Vincent Price, without a mustache. As Jane watches, the man beats the woman to death. When Jane’s husband, Lt. Paul Stewart (Frank Latimore), returns home, he discovers that Jane is in a catatonic state.
Paul calls the local cranky physician, Dr. Harvey (Charles Trowbridge), to the house. Dr. Harvey takes one look at Jane and announces, “She’s in shock!” (YAY! WE HAVE A TITLE!) Paul looks confused so Dr. Harvey goes on to explain, “She’s had a great shock.” Unfortunately, Dr. Harvey is not trained to deal with shock but he knows someone who is. That man’s name is Dr. Richard Cross.
Soon Dr. Cross shows up and — OH MY GOD, IT’S VINCENT PRICE! That’s right — Dr. Cross not only caused Jane’s shock but now he’s going to treat it! Or is he? Though Dr. Cross claims to be wracked with guilt over the murder, his nurse, Elaine Jordan (Lynn Bari), is less concerned about it. In fact, since Elaine is also his mistress, she’s rather happy that Dr. Cross has murdered his wife. Now, she just has to convince him to murder Jane before she recovers from her shock.
(Interestingly enough, Dr. Cross’s plan involves treating Jane with insulin shock therapy, which would seem to indicate that Dr. Cross has seen Dr. Kildare’s Strange Case too many times.)
I had high hopes for Shock, largely because of the presence of Vincent Price. From what I’ve read, the box office success of Shock changed the course of Price’s career. Before Shock, Price was a character actor who occasionally got a good supporting role. After Shock, he was transformed into the horror icon who we all know and love today. Shock was the first time that Price was cast in the type of mad scientist role that would later become his trademark. For that reason, Shock has an important place in the history of cinematic terror.
But, unfortunately, Shock itself is kind of forgettable. It’s pretty much your standard thriller, one that makes the mistake of revealing Price’s villainy from the start. (It would have been far more effective if the film tried to shock us with the realization that Price is the bad guy.) It’s always fun to watch Vincent Price in a movie but he actually gives a rather subdued performance here and, as a result, he’s not as much fun as he would be in his later films. In other words, Shock is no House On Haunted Hill.
That said, Shock is definitely a piece of film history and, as such, it’s worth watching. And here it is:
The 19th film in Mill Creek’s Fabulous Forties box set was 1946’s Whistle Stop and I’m sad to say that I ran into some trouble when I tried to watch it. As much as I love the Mill Creek box sets, the DVDs within are somewhat notorious for getting easily damaged. That was the problem that I ran into when I tried to watch Whistle Stop. From the minute I hit play, the film would randomly pause. The picture would randomly pixelate. The sound would randomly vanish. As you may have picked up, it was all very random but it also made it impossible for me to watch Whistle Stop.
However, like almost every other film that’s ever shown up in Mill Creek box set, Whistle Stop is in the public domain and, therefore, it’s been uploaded to YouTube by dozens of different accounts. Once I realized that the DVD wasn’t going to work, I switched over to YouTube and I finally got watch Whistle Stop.
Really, I probably shouldn’t have gone to all the trouble. Of the 19 Fabulous Forties films that I’ve watched so far, Whistle Stop is perhaps the least interesting. Half of the film is a film noir and the other half if a small town melodrama but, with its convoluted plot and uninspired direction, it really doesn’t work as either.
Mary (Ava Gardner) grew up in a small town but, eventually, she left and went to the big city, hoping to make a new life for herself. Apparently, she didn’t succeed because, two years later, she returns to the small town. (The town is so small and obscure that it’s mostly known for its train stop. Hence, it’s a “whistle stop.”) When she returns, she discovers that her ex-boyfriend, Kenny Veech (George Raft) has become a loser in her absence. Kenny is still in love with her but he’s also bitter at her for leaving town.
Making things even worse, from Kenny’s point of view, is that Mary is now dating a sleazy nightclub owner named Lew Lentz (Tom Conway). Kenny’s best friend, Gitlo (Victor McLaglen), comes up with a plan, in which he and Kenny will kill Lew and make it look like a robbery. However, Lew has plans of his own and…
You know what? I’m probably making Whistle Stop sound more interesting than it actually is. This is one of those films were the plot manages to be absurdly complicated without actually adding up to much. On the plus side, Ava Gardner, one of my favorite of great femme fatales, is beautiful and sultry as Mary and reminded me of why, for several years, Film Noir Femme Fatale was my default Halloween costume. Tom Conway makes Lew Lentz so amazingly sleazy that you can’t help but admire his commitment to the role. On the other hand, George Raft is totally miscast and way too handsome and naturally rakish to play a total loser like Kenny Veech. Watching the film, you can tell that he wasn’t particularly comfortable playing such an insecure and passive character.
Whistle Stop wasn’t particularly memorable but if you want to watch it, you can do so below. It’s free!
The 18th film in Mill Creek’s Fabulous Forties box set was 1946’s The Chase, which turned out to be a pretty nifty little film noir. Did I actually just use the word nifty in a film review? Yes, I did but then again, everyone should use the word “nifty” at least once in their lives.
The Chase tells the story of Chuck Scott (Robert Cummings), whose life is anything but nifty. When we first meet him, he’s standing outside in the rain, staring into a restaurant, and enviously watching the people eating inside. Chuck is a returning serviceman. He helped to win World War II but he’s now returned to a society that has changed in his absence. He has no money, he has no home, and he suffers from what we would today call PTSD.
Things change for Chuck when he finds the wallet of a man named Eddie Roman (Steve Cochran). He returns the wallet, discovering that Eddie not only lives in a mansion but he also has a sinister henchman named Gino (Peter Lorre!). Eddie is so impressed that Chuck returned the wallet and didn’t try to steal any of the money that he offers to put Chuck on the payroll.
Soon, he is working as Eddie’s driver. Of course, Eddie has an accelerator installed in the backseat, so that he can control how fast the car is going. Eddie enjoys freaking Chuck out by randomly speeding up the car. Along with being a spectacularly bad passenger, Eddie also turns out to be a gangster.
When Chuck meets the mysterious Lorna (Michele Morgan), it’s love at first sight but there’s a big problem. Lorna happens to be married … to Eddie! Chuck and Lorna flee to Cuba, with Eddie and Gino in pursuit…
Or do they?
Chuck, it turns out, has been suffering from nightmares since he returned from the war. Often times, he wakes up with amnesia. Are Eddie, Gino, and Lorna real or are they just figments of Chuck’s dream state? Is Chuck really living in a film noir or is he just dreaming that he is?
The Chase is an effectively dark little film noir, one that will keep you guessing. Steve Cochran appears to be having a lot of fun as the cheerfully sociopathic Eddie (and it’s interesting to note that, in the same year as The Chase, Cochran had a supporting role in another film about the struggles of returning servicemen, the Oscar-winning Best Years Of Our Lives) and, of course, Peter Lorre is great as Gino. Michele Morgan is both sympathetic and enigmatic as Lorna and Robert Cummings does a good job of playing a man who is never quite sure whether he’s awake or he’s asleep.
The Chase is a classic mix of film noir and psychological melodrama. Watch it below!
