Film Review: The Heroic Trio (1993, dir. Johnnie To)


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Jeez! It seems like it was just yesterday when I remembered that a Batman/Superman/Wonder Woman movie was coming out this month. Now Ryan already has his review of it up. Here I am sitting on this, the sequel called Executioners (1993), and way more Batman and Superman movies than I care to list left to review. With that in mind, I’d better get on it if I want to even finish by the end of the next month, or the month after that.

I have done several Superman movies and a Batman movie already. That Batman movie technically had Wonder Woman right near the end, but I wasn’t comfortable with that alone. Aside from the 1974 TV Movie, this movie, and it’s sequel, were the only ones that popped up as having a Wonder Woman in them. Even IMDb lists the character of Tung as Wonder Woman. She doesn’t exactly look or act like you would expect Wonder Woman to act. In fact, my subtitles call her Super Heroine and the version on Netflix calls her Shadow Fox. But the movie has Maggie Cheung, Michelle Yeoh, and Anita Mui playing superheroes in a reworking of The Terminator/Terminator 2/Lady Terminator. By The Terminator, I mean the 1984 version. I think we can be fairly certain that director Johnnie To was unaware this version of The Terminator existed.

The Terminator (1991, dir. Ben Hernandez)

The Terminator (1991, dir. Ben Hernandez)

It is also filled with references to everything from Silver Streak (1976) to Remo Williams (1985) to the Flying Guillotine movies. I can’t really bring myself to feel mislead that I was going to get a Chinese Wonder Woman. By the way, I apologize in advance for all the references I’m sure I have missed. But, I don’t apologize for not including screenshots of the two scenes that no one needs to see if they don’t watch the film themselves.

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The movie begins and we hear on the radio that 18 babies have been kidnapped in the last three months as a car pulls up at to an old house. This is when we meet Wonder Woman (Anita Mui), her husband Lau (Damian Lau), and the real estate agent. He takes them inside this dump that only really looks good from the outside. As he tries to sell it, he is also honest. You know, full disclosure and all that. He has to tell them that it is “structurally sound. It had a minor fire, that’s all.”

Lethal Weapon 3 (1992, dir. Richard Donner)

Lethal Weapon 3 (1992, dir. Richard Donner)

He quickly thinks that there’s no way he’s going to make a sale here. He even kicks at one of the pillars in the house causing it to fall down and a bird’s nest to land on his head.

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However, much to Chinese Leo Getz’s surprise, she wants the place anyways. But you know what’s even more of a surprise? The next scene that happens right after they say they will take the house. I’ll explain it, show it, then give you my theory as to why it exists.

Her husband spots a guy outside trying to hot wire their car. He grabs a vine from the roof of the house and dives out the window with it like he’s Tarzan. After landing, he proceeds to use it to lasso the thief and yank him out of the car. He then hands the guy hand cuffs telling him to cuff himself, which he does. It then cuts to Wonder Woman and the real estate agent. He says, “He’s so cool,” to which she responds, “Of course, my hubby is a cop.” Here’s what it looks like.

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No, it’s never brought up again. It’s as if the film just wanted you to know that Hong Kong cops can do that. Believe it or not, I have seen an otherwise unexplainable scene such as this somewhere else before. If memory serves, the movie is actually a favorite of Lisa’s. I haven’t seen it myself, but I have seen The Cinema Snob review of it. It’s a movie called Pieces (1982). There’s a scene where a girl on a college campus is walking around at night when out of nowhere a Chinese guy tries attacking her with martial arts before passing out next to her. A guy comes up to say it’s his Kung Fu professor. The Chinese guy gets up, apologizes saying he had some bad chop suey, and then walks off.

Pieces (1982 dir. Juan Piquer Simón)

Pieces (1982 dir. Juan Piquer Simón)


Pieces (1982 dir. Juan Piquer Simón)

Pieces (1982 dir. Juan Piquer Simón)


Pieces (1982 dir. Juan Piquer Simón)

Pieces (1982 dir. Juan Piquer Simón)


Pieces (1982 dir. Juan Piquer Simón)

Pieces (1982 dir. Juan Piquer Simón)

The reason for it is that the producer of the movie Dick Randall also produced Bruceploitation movies. To give a little advertising for those films he had one of the Bruceploitation actors do that random scene. I figure there must be a similar explanation for why Damian Lau does this bit. It’s my best guess.

Next we cut to the police station where the Invisible Woman (Michelle Yeoh) is screwing with the cops.

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We find out that all the babies that have been kidnapped are male babies. She leaves a threatening notice for the Commissioner that it will be his baby that is going to be kidnapped next. Now the movie cuts to a hospital.

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This set is so 1993 that I thought the Super Mario Bros. might show up at any time.

Super Mario Bros. (1993, dir. Annabel Jankel & Rocky Morton)

Super Mario Bros. (1993, dir. Annabel Jankel & Rocky Morton)

After some talking, a lady asks why they can’t just call in Wonder Woman. That’s when the Invisible Woman tries to snatch two more babies. Well, not really. She picks them up and throws them out a window. These are special babies though because they take forever to fall to the ground. They take long enough for the guy in the window and a woman on the ground to have a conversation about which one to catch. Also, long enough for Wonder Woman to show up running across power lines to make her dramatic entrance.

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She throws her equivalent of batarangs to pin the two babies to the wall, which are apparently still near the top of the building after all this has happened. Also, apparently the two batarangs come straight down on the babies, are then are shown in Wonder Woman’s hand, then come in horizontally to pin the babies to the wall. You know, something tells me this film isn’t very realistic and might have been rushed into production.

Wonder Woman spots some blood on the wall where the babies are and throws her batarangs at them thinking someone might be there. It obviously hits the Invisible Woman. Why it hits the wall yet still causes her to bleed is anyone’s guess. Maybe they just grazed her. Regardless, one of the babies flies off the wall while the other is taken away by the Invisible Woman. Wonder Woman then leaps into action and catches the baby with some rope who is still exerting its magic ability to defy the laws of gravity. She catches the baby with rope and yanks it towards her like her husband Tarzan Lau from the beginning. Maybe that scene was to tell us she learned that trick from her husband. I doubt it though cause the rest of the film will make it very clear to the viewer that he is just a regular cop while she is the superhero. Doesn’t matter. She tells her husband to have the blood on the wall looked into.

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He doesn’t know it’s his wife because he has clearly contracted Lois Lane syndrome. She then calls her husband to tell him she will be late.

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Now we cut to the Invisible Woman in a car with the baby she has kidnapped. Like all the movie’s I’ve been watching lately, we need to pull out the “of course” for this scene. Of course she heads for a random manhole and kicks it up with her foot. Of course after climbing down to the sewers they turn out to be the set for the bad guys. Of course she runs into this movie’s Arnold Terminator…

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who proceeds to fight her, get his finger cutoff, and then eats it. Cause of course he does. Now we meet Robert Patrick Terminator crossed with Lady Terminator who is also on loan from the 70’s. I’ll just call him the Evil Kung Fu 1000.

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He keeps saying that “China must have an emperor.” Funny that Maggie Cheung would go on to be in the film Hero (2002), which many consider to be Chinese government propaganda that said it was okay to slaughter a bunch of people if it meant unifying China. Those babies will not die in this movie. Maggie does kill a bunch of small children though who are down there rather than allowing them to become servants to this king of sorts. At the end of the movie, the babies will be found alive. Little side note, if you have only seen Hero, then watching The Emperor and The Assassin (1998) is essential. It’s a much better and realistic film about the same story.

Oh, and you see the children die. She throws dynamite into the group of them that are in chains. You can see the looks on their faces. You can see one of them fly in the air. You also see at least one of them piss themselves as they are dying. When it comes to this part, the movie doesn’t play any games like it does with the rest of the film. Remember, this film came out the same year as Farewell, My Concubine (1993) and The Blue Kite (1993), which certainly had the Chinese government’s panties in a twist. At this time Chinese studios were also entirely cutoff from government funding. I wouldn’t be surprised if Johnnie tried to cloak a message here with superheroes and such. Another little side note. If you watch this movie on Netflix, then that scene is edited out of the movie. The kids still die, but it’s implicit, offscreen, and you really don’t know it happened because you only saw the babies and they are rescued in the end. The only hint at this is a very quick flashback to the children before being blown up that they didn’t edit out. But it’s so quick no one who didn’t know there was something missing would notice.

Anyways, the movie now goes into a flashback. We see a guy standing next to a little girl in white who will turn out to be the child version of Wonder Woman. He is pointing at a girl in red who is the child version of the Invisible Woman telling her she has to climb up this rope hanging over a cliff all by herself.

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She doesn’t make it up the cliff. How she survived the fall…I don’t know. I’m just going to assume that Michelle Yeoh is such a badass that she has the same powers as Michael Des Barres who survived this.

MacGyver

MacGyver


MacGyver

MacGyver

That was a nightmare the Invisible Woman was having. This is where it gets a little weird. She wakes up in a bed that is on the other side of some glass separating her from the rest of the room. On the other side is a professor who is working on the invisibility suit. Apparently, it doesn’t work under direct sunlight.

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Not sure how this setup happened or exactly what she is doing for him in this situation. I do know that she is on that side of the glass because the other side isn’t safe health wise while he works on the suit. I also know that she is there because we will find out that she is meant to steal the suit permanently once it works perfectly.

Next Wonder Woman visits a fortune teller to try and figure out why all these babies are being kidnapped. The fortune teller tells her that they are destined to be emperors. That’s when a little girl falls out a window, they obviously didn’t count on people being able to pause the film with accuracy in 1993, I won’t post it, and Wonder Woman jumps out to save her.

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She also saves a cat that fell out of the window shortly after the little girl fell. I love that she looks around at the children in the windows as if to say keep it under your hat, but apparently the fortune teller she was sitting next to didn’t notice anything. She was probably meant to be blind, but there’s nothing in the scene to indicate that except her wearing sunglasses. Oh, and of course the child and the cat have the magic ability to fall at just the correct speed to be caught.

Back at the Wonder Woman estate, she is chopping vegetables and her husband is cutting a log. Wonder Woman has a flashback to a little girl kissing her and referring to her as an older sister, but it doesn’t make any sense. Good scene.

Downtown at Aota Chemicals a hostage situation is taking place. So of course the cops call in Cobra.

Cobra (1986, dir. George P. Cosmatos)

Cobra (1986, dir. George P. Cosmatos)

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I know Maggie Cheung’s character has an actual name in this movie, but I don’t care. I’m just going to refer to her as Cobra Cheung. She’s not a cop like Cobra, but does this kind of work freelance. However, she does just what Cobra would do in this situation. She straddles a barrel, lights the back of the sucker on fire, and flies into action.

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She dispatches some of them and launches the others out in barrels for the cops to arrest. Before leaving, she offers her services to the commissioner to get his son back for him if he pays her. If memory serves, in the Netflix version she just offers to get his son back for him. In the original she wants more money if she brings him back alive, and a lesser sum if she brings him in dead.

Next, something happens back at the hospital where a madman is going to kill all the babies. It seems like it was just a last minute script addition in order to get Wonder Woman and the Invisible Woman in the same room for a bit before Cobra Cheung snatches a baby. Even having watched this movie twice, I’m still not sure why she takes this baby from the hospital. I understand that Wonder Woman and the Invisible Woman are in the same room in their regular clothes so that we can see that the Invisible Woman isn’t all bad as she lets her hand get cut up to rescue the babies from being killed.

Next we get a fight scene between all three of the ladies while the baby is there. This movie likes to follow projectiles in the air.

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For those of you who grew up in the 90s…

you’re welcome.

Sadly, the baby falls during this fight and lands on a nail. Wonder Woman takes the baby back to the hospital, but it dies.

Now we get a flashback that seems to indicate that not only did red girl survive the fall earlier, but that she left leaving Wonder Woman to alone do whatever the harsh trainer guy wanted both of them to do in the first place. I’m not sure why they bothered with this origin story stuff. It doesn’t make a whole lot of sense, I probably haven’t followed it correctly, and it it doesn’t add anything to the film except to tell us they had connections prior to the events of the film.

Next we get a scene between the Invisible Woman and Cobra Cheung that had me confused. All you need to know is that Cobra wants the babies dead rather than to be turned into something evil, and this happens.

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Remo Williams: The Adventure Begins (1985, dir. Guy Hamilton)

Remo Williams: The Adventure Begins (1985, dir. Guy Hamilton)


Remo Williams: The Adventure Begins (1985, dir. Guy Hamilton)

Remo Williams: The Adventure Begins (1985, dir. Guy Hamilton)

Now we see how the Invisible Woman came to work for the Evil Kung Fu 1000. No explanation of how she got there, but he tells her she is no longer called Ching Ching, but will be known as Third Chan. Then he hits her on the back of the head with a log.

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Yep! That’s a thing that happens.

Next we get a couple of scenes for character development. Who cares when we need to get to the all important Arnold Terminator eating birds scene.

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That’s another thing that happens.

Cobra Cheung goes down to check out what’s happening in the sewers. She throws a bunch of birds up to distract this guy so she can look around. All that really matters here is that Cobra Cheung now knows the babies are being held down there in bird cages, and Arnold Terminator is now sent to kill Wonder Woman.

Cobra Cheung now shows up at the police station to tell them she’s off the case of the kids by throwing gold onto the table the cops are sitting at which disappears when the camera cuts.

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Another good scene. Moving on now. As Cobra Cheung is leaving on her motorcycle, Wonder Woman throws the baby from American Sniper at her, which she catches.

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Now we need more action and references. That’s why Arnold Terminator has taken a train station hostage, destroyed the computer, and brought a flying guillotine with him.

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Master of the Flying Guillotine (1976, dir. Yu Wang)

Master of the Flying Guillotine (1976, dir. Yu Wang)

Wonder Woman and Cobra Cheung get to the train station, but not in time to do much except this.

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They drive the motorcycle into the wall, bounce off of it spinning, throw dynamite at Arnold, jump off, and the motorcycle is destroyed. That’s a thing that happens too. Then the train crashes into the station.

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Silver Streak (1976, dir. Arthur Hiller)

Silver Streak (1976, dir. Arthur Hiller)

That’s when Arnold tries to stop the train himself…

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but he forgot he was a Terminator ripoff and not Superman…

Superman IV: The Quest for Peace (1987, dir. Sidney J. Furie)

Superman IV: The Quest for Peace (1987, dir. Sidney J. Furie)

so he is disposed of as far as that scene is concerned.

Now the movie gets on the fast track to its conclusion. Wonder Woman visits her husband in the hospital. He now knows her secret identity. Things get more desperate between the Invisible Woman and the professor because his research is killing him now. Then all three of them meet up on the set of every Kung Fu movie from the 70s.

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This scene only exists so they can fall over a cliff to recreate the flashback scene shown here.

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They decide to work together. Then without showing them climb up, it cuts to this…

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so that I can do this…

Indiana Jones and the Last Crusade (1989, dir. Steven Spielberg)

Indiana Jones and the Last Crusade (1989, dir. Steven Spielberg)


Indiana Jones and the Last Crusade (1989, dir. Steven Spielberg)

Indiana Jones and the Last Crusade (1989, dir. Steven Spielberg)

You might be wondering how her motorcycle is intact for this scene. No idea. You just have to roll with it.

Now the Arnold Terminator pays a visit to the professor to get the invisibility suit. He bends Cobra Cheung’s shotgun while they try to stop him.

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Then this reactor like thing that was in the professor’s lab gets punctured. The room turns red and everything. They cause him to fall in it. He has the professor’s notes on a tape when he goes in. He punches his hand out of thing holding the tape player. That’s the last we see of him. I’m guessing that’s a setup for the sequel.

Now they go to fight the Evil Kung Fu 1000. First though, we have to kill the kids.

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Ninth Chan is Arnold Terminator. Moving on because you don’t want to see it. The battle ensues before leaving the sewers to the set of Highlander II: The Quickening (1991).

Highlander II: The Quickening (1991, dir. Russell Mulcahy)

Highlander II: The Quickening (1991, dir. Russell Mulcahy)

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Considering the plot of the sequel to this movie, I’m sure Highlander II and its ilk were in the director’s mind while making this film.

They fight for awhile till Cobra Cheung is able to put a stick of dynamite into the Evil Kung Fu 1000’s robe.

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 Terminator 2: Judgment Day (1991, dir. James Cameron)

Terminator 2: Judgment Day (1991, dir. James Cameron)

After going up in flames, the movie does exactly what you think it does.

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You can take your pick here.

 Terminator 2: Judgment Day (1991, dir. James Cameron)

Terminator 2: Judgment Day (1991, dir. James Cameron)


The Terminator (1984, dir. James Cameron)

The Terminator (1984, dir. James Cameron)


Lady Terminator (1989, dir. H. Tjut Djalil)

Lady Terminator (1989, dir. H. Tjut Djalil)

The way the Evil Kung Fu 1000 looks like after emerging from the flames, I think the director probably had a combination of The Terminator and Lady Terminator in mind.

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In short order, he latches onto the Invisible Woman to make her fight for him.

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See No Evil, Hear No Evil (1989, dir. Arthur Hiller)

See No Evil, Hear No Evil (1989, dir. Arthur Hiller)

Eventually they are able to break the Invisible Woman free, and the bad guy falls to his death to shatter on the concrete. Then they walk off into the distance.

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Well, there is one more short scene. We cut to Wonder Woman and her husband watching TV. This is when we find out that the husband has coined their name as The Heroic Trio and that the cops rescued the babies.

That’s The Heroic Trio. It has plenty of martial arts. It has plenty of mistakes. It doesn’t soft pedal things. It’s somewhat confusing. It’s a little insane. Overall, I would say I enjoyed it. If nothing else, it was fun to see all three of these famous Chinese actresses together onscreen. Especially since Anita Mui is no longer with us and Maggie Cheung appears to have stopped acting. They’ve all done better work, but I still recommend this enjoyable mess of a movie. I’m looking forward to watching the sequel.

Film Review: 10 Cloverfield Lane (dir by Dan Trachtenberg)


10_Cloverfield_Lane

I know that everyone’s excited about Batman v. Superman being released this weekend but before you go off and spend your money to watch two comic book titans beat up on each other for six hours (or however long that damn movie is supposed to last), you should ask yourself, “Have I seen 10 Cloverfield Lane?”

If the answer to that question is no, you need to go out and see it now.  Yes, even before you see Batman v. Superman.  Batman v. Superman is going to be around for a while.  10 Cloverfield Lane has already been out for a couple of weeks and, though it’s done well enough, it still hasn’t quite become the blockbuster that it deserves to be.

Most of the talk about 10 Cloverfield Lane has centered around the twist ending.  I’m not going to spoil the ending, even though you probably already know what it is.  Oddly enough, as much as I liked the film, the ending didn’t really work for me.  I liked the idea behind the ending more than I liked the actual execution.  Add to that, it added an element of hope to a film that, up until that point, had been wonderfully and defiantly hopeless.  The film’s ending also set things up for a sequel, one that will probably not be as interesting as the original.

Fortunately, the first 83 minutes of 10 Cloverfield Lane are so strong and well-executed that I can overlook any minor quibbles that I had with the final 20.  Mary Elizabeth Winstead plays Michelle.  Michelle lives in New Orleans and, when we first meet her, she’s breaking up with her fiancée.  (Though we never actually see him, the fiancée is played by Bradley Cooper.  What is Michelle thinking!?)  Leaving the safety of her apartment, Michelle goes for a drive in the country.  (Going off to the middle of nowhere in the middle of the night?  It might not be a good decision but hey, we’ve all been there.)  Suddenly, she starts to hear weird things on the radio.  Cities across America are suffering from blackouts.  She gets a call from her fiancée but before she can answer the phone, there’s a sudden a flash of light.  Something crashed into her car from behind and Michelle blacks out.

When Michelle awakens, she’s in an underground bunker.  Her host is Howard (John Goodman), a doomsday prepper who tells her that he saved her life.  He explains that something has happened on the surface.  The air is poisoned.  The world is ending.  The only safe place is in the bunker.  Fortunately, Howard has an extensive collection of old VHS tapes, several teen magazines (“The quizzes have already been done,” Howard apologetically says), and a lot of food.  He also has a change of clothes for Michelle to wear.  Howard explains that the clothes once belonged to his daughter.

From the minute we meet him, it’s obvious that Howard is unstable.  The only question is how unstable.  The film makes brilliant use of John Goodman’s persona.   When we see John Goodman, our automatic instinct is to like him.  We’re used to seeing him playing good guys.  What we forget, however, is that John Goodman has played his share of villains as well.  He can be intimidating, as Michelle quickly realizes.  Howard is unpredictable.  One minute, he’s watching Pretty In Pink for the 100th time.  The next minute, he’s threatening to dunk someone in acid.

It turns out that Howard and Michelle are not alone.  The slightly dim but good-natured Emmett (John Gallagher, Jr.) is also in the bunker.  Unlike Michelle, Emmett believes Howard’s claims about something terrible happening on the surface.  Emmett also believes that, no matter how correct he may be about the end of the world, Howard still might be totally crazy.

So, is Howard crazy?  You bet he is.  That’s obvious from the minute we meet him.  The brilliant thing about 10 Cloverfield Lane is that, even as it convinces us that Howard’s insane and dangerous, it still makes us wonder if he might be right.  Director Dan Trachtenberg expertly captures the claustrophobic tension of life in that underground bunker and the script has a nicely satirical subtext.  (The film’s best moments are when Howard attempts to play the role of patriarch to those who he is forcing to be his new family.)  The film is brilliantly acted, especially by Mary Elizabeth Winstead who perfectly portrays both Michelle’s fear and her inner strength.  As for John Goodman — well, you’ll probably never quite look at him the same way again.

10 Cloverfield Lane is an intelligent and well-crafted thriller.  Don’t wait for Netflix.  Don’t go to the dollar theater.  If you haven’t already, see it now!

Film Review: The Bronze (dir by Bryan Buckley)


The Bronze has been getting terrible reviews since it first premiered at Sundance last year.  Telling the story of an Olympic bronze medalist who has grown up to be bitter and angry, The Bronze has been unfavorably compared to Bad Santa, Bad Words, Bad Teacher and … well, bad anything.  (You know you’re in trouble when your film gets compared to Bad Teacher because most critics have an irrational hatred for that film.  I actually enjoyed it.)  The Bronze was originally scheduled to be released last July and then it was pushed back and then, for a little while, it vanished all together as it was traded between different distributors.  Finally, last Friday, Sony Pictures Classics released The Bronze with all the fanfare of a community theater announcing their annual production of Forever Plaid.

Well, after hearing how terrible it was, there was no way that my BFF Evelyn and I could resist the temptation to experience it for ourselves.  (We both enjoy watching and commenting during bad movies.  That’s what led to us watching that Tyler Perry movie about the adulterous matckmaker .)  We caught a 10:15 showing last night at the AMC Valley View and the theater was almost totally deserted.  (Admittedly, not many people are brave enough to go to Valley View Mall past 9:00 but Evelyn and I fear nothing.)  We were expecting to see a thoroughly mediocre film but you know what?

We were both kind of surprised to discover that The Bronze was not the terrible film that we had been led to expect.

Melissa Rauch (who co-wrote the script) plays Hope Ann Gregory, a former Olympic gymnast who won the Bronze medal at the Summer Olympics.  She won the medal despite competing on an injured ankle.  Unfortunately, her injury ended her competitive career but it also briefly made her a national celebrity.  12 years later, most of the country may have forgotten Hope but the people of hometown of Amherst, Ohio still love her.

When we first meet Hope, she’s masturbating while watching footage of herself competing at the Olympics.  She then proceeds to steal money from her father’s mail route so she’ll have enough money to buy weed.  Hope is rude to almost everyone and yet, no one in the town seems to notice.  Or maybe they are so happy to be in the presence of a minor celebrity that they just don’t care how terribly she treats them.  The movie is actually somewhat vague on this point but still, the contrast between Hope’s reality and the opinion that others have of her is one of the best things about the film.  Intentionally or not, it perfectly satirizes that way that we idealize our celebrities.

When Hope’s former coach commits suicide, her final request is that Hope agree to train an up-and-coming gymnast, Maggie (Haley Lu Richardson).  At first, the jealous Hope tries to sabotage Maggie but eventually, Hope starts to take her job as coach seriously.  (When Maggie first shows up, she seems to be a one-note, excessively perky character but eventually, she reveals some needed, if not exactly surprising, complexity.)  Hope also develops an unexpected relationship with Maggie’s assistant coach, Twitchy (Thomas Middleditch).  (Twitchy is called Twitchy because he blinks a lot.)

The Bronze is not a great film.  Instead, it’s an extremely uneven film, one that often seems to be trying too hard.  It never manages to find the right balance between its raunchy comedy and the occasional and surprisingly subtle moments when it suddenly becomes a character study.

And yet, at the same time, it’s not as terrible as you’ve heard.  There are moments that work surprisingly well.  Some of them are moments like an enjoyably over-the-top sex scene between two gymnasts.  But then there are moments like the scene where Hope talks about the first time she learned that, as a result of the injury she sustained while winning her Bronze, she would never be able to compete again.  There are scenes like the one where Hope proves herself to be surprisingly loyal to the citizens of Amherst or where her long-suffering father (Gary Cole) confronts her about her behavior.  Though these moments may be few and far between, they still work surprisingly well.  It’s during these moments that The Bronze drops the protective mask of outrageousness and reveals some unexpected depth.  It helps that, along with writing the script, Melissa Rauch totally commits herself to the role.  At her best, she’s like a force of stoned nature.

Is The Bronze really worth seeing on the big screen?  Probably not.  It’s too uneven to really be successful.  But when it shows up on Netflix, I predict that a lot of people are going to be surprised to discover that The Bronze isn’t as terrible as they’ve been told.

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Film Review: Supermen Against the Orient (1973, dir. Bitto Albertini)


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Forgive me, but I watched this last week. I may have some trouble remembering the complex storyline. Good thing I have the movie right here. Let me just turn it on.

“I smack ’em! I whack ’em! I scratch ’em! I bash ’em! I cream ’em! I ream ’em! And then I redeem them!”

Ah, it’s all coming back to me now!

First off, me being half Italian, I can assure you that title translates to Knockoff Burt Lancaster, Harpo, and Rick Wright Rob a Safe in the Orient. The alternate tile being Supermen Against the Orient. By the way, the opening song is awesome!

The movie opens up on a deal gone wrong between criminals after two guys pop out of boxes with guns.

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There is more talent on display here in this opening scene than in all of Superdragon vs. Superman. Just the fact that they have two fights going on during this scene on two different boats in the same frame is incredible. They even have the courtesy to make sure the bad guys were in black and blue while the other guys were in white. It’s small, but it makes fights easier to follow. Being confused about who is who gets in the way of enjoying fight scenes.

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Oh, and it’s clearly done by people who are fans of 60’s crime and western films. A lot of style on display here.

After torturing the two guys who popped out of the boxes, the bad guys find out about something in Bangkok. Cut to a boardroom meeting and who cares. All you need to know is that they need Captain Wallace. They describe him like they are going to bring in Peter Sellers or something.

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Here is Captain Wallace played by Robert Malcolm. He’s pretty funny in this movie. He’s here to finally get married. It’s the third time he’s tried.

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Boy, the guy singing over the opening credits wasn’t kidding when he said he reams ’em.

Anyways, people show up to drag him away to serve his country of America. Yeah, he’s actually supposed to be from America in this Italian film. He goes to Bangkok.

After calling for a taxi, this guy pops out to look at our hero.

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Clearly, he wants to check out our hero’s awesome mustache!

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He also follows him in his car. Then a car chase ensues that lasts the enormous time of…

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a few seconds. After Superdragon vs. Superman I expected this to go on for 7 minutes at least.

He now checks in at the hotel where he bumps into this lady.

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She will be our Supergirl later on. Yes, I know she looks blind in that screenshot, but she isn’t.

Now the movie goes on Thailand vacation.

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It’s like these scenes are here not only to add some realism, but as if the filmmakers cut a deal with the tourism board. You can shoot here, but show off some of the sights please!

After going to the pool and a kickboxing match for reasons that don’t matter, the film has fulfilled it’s Thai quota for the movie so it’s off to Hong Kong. He needs to find the “kung fu expert”. Although Jackie Chan is supposed to be in this movie, he’s just an extra and not the man he is looking for.

Wallace goes to the American embassy, which is run by an Italian character actor sitting in front of a picture of Nixon.

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He’s a cryptic prick who says he has some sort of secret weapon that is so secret that he can’t tell Wallace about it even though he is supposed to use it to protect Wallace. No joke. He says all that crap along with a bunch more. He’s quite annoying in this movie. So is what should have been a subplot behind Wallace (the safe) under the painting that is next to the cover of Radiohead’s Kid A album. Wallace actually does guess at what this super secret thing could be. He says he thinks it may be a Buck Rogers Ray Gun. He’s in the wrong decade for that kind of a guess. That’s Reagan era stuff. It’s long johns. In other words, it’s a full body suit that makes you invulnerable to projectiles. Oh, and character actor farts before saying that kung fu is like a laxative because everything comes from inside. If he had only waited four more years, then a film a man like him would go see could have taught him how to solve his little problem.

Not going to say till I review it. If you know, then don't tell. It's a surprise!

Not going to say till I review it. If you know, then don’t tell. It’s a surprise!

Now we are off to continue the search for Jackie Chan in this movie at a kung fu competition.

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He’s probably in this crowd somewhere just like Phil Collins in A Hard Day’s Night (1964).

We also meet Harpo (Salvatore Borghese), and who I like to call Rick Wright (Antonio Cantafora) even if he isn’t nearly as short as Larry Manetti.

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Super Stache is called out to fight the kung fu champion. After a good old ass kickery. This happens.

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Then we are in the hospital.

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There had to be an easier way to meet the champ. Don’t worry about him. A good acupuncture treatment and he’s back in business. By that I mean it’s time for training. Such as punching hot coals.

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I’m sorry, but Cüneyt Arkin punches rocks to train.

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Now their palms are as strong as steel! They can kill a horse with one hand.

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That’s all well and good, but Chuin can finger punch a nail.

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Next we get a scene to remind me how much I like traditional Asian dresses/tops, that same guy from earlier is still watching Super Stache, and…

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Supergirl, whose pink top I would take off of her cold dead body, tells him to watch out for people who are keeping their eyes on him. Particularly the guy under his table. Then we go back to stick feet into fire followed by a joke about donkeys and ointment for the ass. Moving on.

After ridiculously going around pretending he is Chinese, which no one believes, Wallace runs into Supergirl.

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Blah, blah, blah, their kung fu means that bullets don’t work, blah, blah, blah, watch out, blah, blah, blah.

Now Super Stache goes out on the street to get his ass kicked again.

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Luckily, Supergirl comes to his rescue and deals with them.

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Now Super Stache meets with his friends to ask for their help.

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They say they’ll help, but only if he helps them rob the safe at the embassy. After he is initially offended at the prospect, he agrees. The movie is at the halfway point. It’s a heist movie now. Seriously! It now carries on primarily with robbing the safe for about 30 minutes. No joke. 30 minutes! We get a few things in here like this.

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This too.

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It goes so off track that there is a scene where Super Stache runs to a library to find out when Abraham Lincoln was born and died in order to figure out the safe combination. The movie eventually gets back on track for the last 15 minutes or so of the film.

Finally, here are the Supermen and Supergirl vs. the dudes in black. I really don’t know what the deal with with these guys is, but after they attacked random business owners in the street I knew they had to be stopped.

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With masks they can completely withstand bullets.

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Except that guy in the front. He has to use his arms. Oh, and this guy jumps in the air.

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Somedays you just gotta do midair splits.

There are a few goodbyes and the embassy guy does more of his comedy shtick, but that’s it! It was way better than Superdragon vs. Superman, but why did it have to go into that whole rob the safe thing? It had a good setup. I liked the actors. Them being Supermen and having a Supergirl too is fun. It could have worked better if they had stuck with it, but the safe thing is really boring and takes over the movie.

I’d still recommend this if only for Super Stache. He really is funny. It’s a shame that according to IMDb he only made two other films the same year as this one called Sinbad and the Caliph of Baghdad as well as And They Smelled the Strange, Exciting, Dangerous Scent of Dollars. In the first, he played Simbad. In the second, he played Butch ‘Charity’ Jenkins. Maybe someday I’ll see them.

In the meantime, I’ll pull out my complete series box set of The Greatest American Hero when I need my fix of comedians in red suits.

Film Review: The Divergent Series: Allegiant (dir by Robert Schwentke)


Oh, Who Gives A Fuck About This Fucking Movie?

Oh, who cares?

I really hate to start my review with such a negative statement but seriously, after watching Allegiant today, I am now convinced that the Divergent movies are perhaps the least interesting film franchise since the Paranormal Activity sequels.  Not only are the films so derivative of The Hunger Games that I’m always surprised that Donald Sutherland isn’t lurking around in the background but they’ve also managed to waste the talents of some of the best actors of my generation.  When you’ve got performers like Shailene Woodley and Miles Teller at your disposal, there’s no excuse not to be interesting.

I watched Allegiant with my BFF Evelyn and I’ll admit right now that we talked throughout the entire movie.  We laughed at the most serious of moments.  When Jeff Daniels showed up, we had a very long discussion about how, when he’s good, Jeff Daniels is really good but when he’s bad, he manages to come across as being the most boring man on the planet.  When Miles Teller betrayed his allies, Evelyn said, “Again!?” and then she had to remind me that Miles Teller always ends up betraying everyone in every Divergent film.

(It makes you wonder why the Tris (played by Shailene Woodley) and Four (Theo James) always bring Miles Teller with them as opposed to just killing him.  I suppose some of it might have to do with the fact that he’s Miles Teller and he’s a badass.  In fact, he probably should be playing Four.  He certainly has more chemistry with Shailene Woodley than Theo James does.  In fact, Theo James always looks like he’d rather be doing anything other than appearing in another goddamn Divergent film.)

And yes, Evelyn and I did get a few dirty looks from some people in the audience but you know what?  I fully understand that it’s rude to talk through a movie but oh my God, we had to do something.  Allegiant is such a boring movie.  The film moves slowly, as if the filmmakers don’t understand that everyone in the audience has seen enough YA adaptations to already know everything that’s going to happen.  If you want to truly understand what film critics mean when they say that a film is “draggy,” try to watch an entire Divergent film without standing up to stretch your legs or get something to drink.  Perhaps the biggest mistake you can make while watching Allegiant is to actually concentrate on what’s slowly playing out on screen.

The Divergent films aren’t terribly complicated and yet, I always find myself struggling to follow them.  They’re so bland and forgettable that I can never remember what happened in the previous film.  As Allegiant started, I was like, “Why is Naomi Watts in charge of Chicago now?  Oh yeah, Kate Winslet did die at the end of the last movie!”  And then I remembered that Evelyn was Four’s mother.

And then my BFF Evelyn (as opposed to the film’s Evelyn) said, “Four is a stupid name,” and I started laughing way too hard.  In fact, we made many jokes about Four’s nickname and then eventually, I remembered that he was called Four because he only has four fears.  But it took me a while to remember and, once I did remember, I couldn’t help but think about how stupid a backstory that was.

Anyway, the plot of the film is that the movie’s Evelyn is now in charge of Chicago but she’s turning out to be just as bad as the system that she’s replacing.  So, Tris, Four, and friends escape from Chicago and explore the barren landscape that surrounds the city.  Eventually, they are found by the Bureau of Genetic Welfare.  The Bureau is headed up by a boring guy named David (Jeff Daniels).  At first, David seems to be a good guy but then it turns out that the Bureau was behind the whole Faction experiment.  And now the Bureau wants to attack Chicago, wipe the slate clean, and start the experiment all over again.

Will Four and Tris go along with David’s plan or will they try to stop him?

At this point, who cares?

The thing that’s annoying about the Divergent films is that the storyline has potential.  At the heart of it all, the battle between the Factions and the Factionless has the potential to be a powerful, if simplistic, metaphor.  But the films are so plodding and take such an obvious approach that most of that potential is wasted.  Add to that, Shailene Woodley is a great actress.  In fact, I think it can be argued that she actually has more range than Jennifer Lawrence.  (Just check out her performance in The Spectacular Now.)  But the franchise has never known what to do with her uniquely off-center style.  Instead, it simply gives her speeches that feel as if they’ve been lifted from every other dystopian YA franchise.  The films insist on trying to make Shailene Woodley predictable and she deserves better on that.

As is typical of big franchise films nowadays, Allegiant is just part one of the Divergent finale and even the “to be continued” ending feels annoying because it’s so obviously lifted from every other franchise finale that’s ever been produced.  As with all the Divergent films, Allegiant never escapes the shadow of The Hunger Games.  The best that can be said about this franchise is that it will be over soon.  Hopefully, Shailene Woodley will be able to move onto a film more worthy of her considerable talents.

Cleaning Out The DVR #38: It Happened One Night (dir by Frank Capra)


For those following at home, Lisa is attempting to clean out her DVR by watching and reviewing 38 films by the end of today!!!!!  Will she make it?  Well, it depends on whether or not she can finish the review below!)

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Before I talk too much about the 1934 film It Happened One Night, I want to tell a story about legs.

I’ve always been insecure about having a slightly large nose and once, when I was 17 years old, I was giving my mom a hard time about the fact that I had basically inherited it from her.  I was going on and on and being fairly obnoxious about it.  (Yes, believe it or not, I can occasionally be obnoxious…)

Finally, my mom held up her hand and said, “Yes, you got your nose from me but you also got my legs so stop crying!”

And you know what?  I glanced down at my legs and I realized that she was right and that made me feel a lot better.  Ever since then, I’ve taken a lot of pride in having a good pair of legs.

Now, you may be asking yourself what that has to do with It Happened One Night.  Well, It Happened One Night is one of the ultimate “good legs” movies.  That’s because It Happened One Night features the famous scene in which Claudette Colbert teaches Clark Gable the proper way to hitchhike.  (If I ever take up hitchhiking, I’m planning on using the same technique.)

That’s the scene that It Happened One Night is justifiably famous for.  However, It Happened One Night is more than just a film about hitchhiking.

It’s also a romance, one that features Claudette Colbert at her wackiest and Clark Gable at his sexiest.  Reportedly, the sell of undershirts plummeted after Clark Gable took off his shirt and revealed that he wasn’t wearing one.

It was one of the first road movies and it was such a success that it remains influential to this very day.  Any time you watch a movie that features two seemingly different characters getting to know each other on a road trip, you’re watching a movie that exists because of It Happened One Night.  (And yes, that includes Tom Hardy and Charlize Theron in Mad Max: Fury Road.)  

Frank Capra won his first Oscar for directing this film and It Happened One Night remains one of his most likable and least preachy films.  Just compare the unpretentious, down-to-Earth style of It Happened One Night to Meet John Doe.

Perhaps most importantly, It Happened One Night was the first comedy to win the Oscar for best picture.  It Happened One Night is a film that announces that a film doesn’t have to be a self-serious, pretentious epic to be great. Before the victory of It Happened One Night, the top prize was exclusively reserved for films like Cimarron and Calvalcade.  (Seriously, just try watching some of those early winners today.)  It Happened One Night‘s Oscar victory was a victory for the future of entertainment.

(By the way, as I sit here typing up this review, I keep accidentally typing It’s A Wonderful Life instead of It Happened One Night.  That’s the power of Frank Capra.)

It Happened One Night tells the story of  Pete Warne (Clark Gable).  Pete is an out-of-work reporter.  Though he may be down on his luck, he’s still confident and lovably cocky in that way that only Clark Gable could be.  While riding on a bus from Florida to New York, Pete recognizes one of his fellow passengers as Ellie Andrews (Claudette Colbert), an heiress who has recently eloped with a buffoonish big game hunter named King Westley (Jameson Thomas).  Ellie’s father wants to get the marriage annulled and has people all over the country searching for his daughter.  Pete agrees not to call Ellie’s father if Ellie will agree to give him an exclusive story when she meets up with Westley in New York.

For the rest of the film, we follow Pete and Ellie as they cross the United States, spending awkward nights in motel rooms, getting kicked off of buses, and hitchhiking.  Ellie gives lessons on how to get a car to stop.  Pete delivers a long monologue on the proper way to undress before going to bed.  Along the way, Pete and Ellie fall in love.  It also becomes obvious that Ellie’s father is right about Westley only marrying her for her money.

They also meet a large cast of increasingly eccentric characters.  Whether they’re dealing with the passengers on the bus or the cranky people staying at a rest stop or a motorist who won’t stop singing, Pete and Ellie do noy meet anyone who doesn’t have at least one odd quirk.  Like many classic screwball comedies, It Happened One Night takes place in a world where everyone — from a bus driver to a desk clerk to a group of women waiting to use a shower at a rest stop — has something to say about everything.  Some of the film’s funniest moments come from watching the normally smooth Pete have to deal with the increasingly crazy world in which he’s found himself.

(For her part, Ellie is at her happiest when things are at their strangest.  Ellie’s the best.)

The other great moments come from simply watching Gable and Colbert interact.  They have an amazing chemistry and it comes through in their performances.  It’d odd to read that apparently neither Gable nor Colbert were happy to be cast in It Happened One Night because their performances are so much fun to watch.  A love story only works if you love the characters and the love story in It Happened One Night definitely works.

As I stated above, It Happened One Night was the first comedy to win Best Picture.  Beyond that, it was also the first movie to win all of the top 5 Oscars: Picture, Director, Actor, Actress, and Adapted Screenplay.  (Those were also the only 5 nominations that It Happened One Night received.)  For once, the Academy got it right.  It Happened One Night remains a delightful film.

(Oh my God, y’all, I did it!  That’s 38 films reviewed in 10 days and my DVR now has space to record all sorts of things!  And making it all the better is that I finished this project by reviewing a truly wonderful comedy like It Happened One Night!)

Cleaning Out The DVR #37: A Room With A View (dir by James Ivory)


(For those following at home, Lisa is attempting to clean out her DVR by watching and reviewing 38 films by the end of today!!!!!  Will she make it?  Keep following the site to find out!)

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Poor Cecil Vyse.

The 1986 film A Room With A View is a love story.  It’s about a young woman who meets a young man in Florence, Italy and then, upon returning to England, she discovers that the same young man and his father are now her neighbors.  From the minutes they meet, it’s obvious that the young man and the young woman are destined to be together.  The only thing that’s standing in their way is the strict culture of conformity of Edwardian England.  That and the fact that the young woman is engaged to Cecil Vyse.

Cecil represents the establishment.  He comes from a good family.  He’s well-educated.  He talks about the right subjects.  He holds all the right opinions.  He’s not an exciting man but he’s a good man who is destined to have successful but not very interesting life.  From the minute that we meet him, we know that our heroine is not meant to stay with Cecil.

And it’s heart-breaking because the film goes out of its way to show that Cecil is not a bad person.  In his own befuddled way, he’s one of the most likable people in the entire film.  He may not have an interesting mind but he does have a good heart.  When the moment comes that Cecil’s heart is broken, the film treats him with respect.

Of course, it helps that Cecil was played, in one of his first roles, by Daniel Day-Lewis.  Day-Lewis plays the role with a quiet dignity.  Instead of just turning Cecil into a mere nuisance that has to be pushed out of the way in the name of love, Day-Lewis emphasizes Cecil’s humanity.  There’s a quiet scene where the recently heart-broken Cecil ties his shoes that is an example of truly great acting.

As for the two young lovers, Lucy Honeychurch is played by Helena Bonham Carter while George Emerson is played by Julian Sands.  Both of them are achingly beautiful and, even more importantly, they both look as if they belong in Edward England and with each other.  Still, seeing this film today, it takes a little while to adjust to seeing both Bonham Carter and Sands playing such … normal characters.  We’re so used to seeing Helena killing people in Tim Burton movies that it’s nice to see her getting to rather sweetly fall in love for once.

The entire film is full of great British actors, all at their best.  Denholm Elliott plays George’s father and gets to deliver a rousing defense of both true love and free thought.  Maggie Smith plays Lucy’s overprotective aunt while Rosemary Leach is Lucy’s supportive mother.  And then you’ve got Simon Callow as an eccentric vicar.  (Because every British film needs an eccentric vicar.)  Lucy’s younger brother is played by an actor named Rupert Graves and he’s so adorable that I kind of found myself wishing that he could have had a spin-off movie of his own.

A Room With A View is a wonderfully romantic film, one that I could easily see myself spending days just watching over and over again.  A Room With A View was nominated for best picture but it lost to the far less romantic Platoon.

(For those following at home, I now have one more review to go to reach my goal of reviewing 38 films in 10 days!)

Cleaning Out The DVR #36: Toni Braxton: Unbreak My Heart (dir by Vondie Curtis-Hall)


(For those following at home, Lisa is attempting to clean out her DVR by watching and reviewing 38 films by the end of today!!!!!  Will she make it?  Keep following the site to find out!)

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It’s becoming a new annual tradition.  Every January, Lifetime airs a biopic about a singer.  As I watched Toni Braxton: Unbreak My Heart, I found myself thinking about what makes a good biopic.  Unfortunately, good lives rarely make good biopics.  After all, we watch biopics for the drama behind-the-scenes.  When someone has lived a successful life and has basically lived her life with intelligence and integrity, it makes them a role model.  But it doesn’t necessarily make them into a fascinating subject for a movie.

Now, I have to admit that, before watching this movie, I didn’t know much about Toni Braxton.  My musical taste tends to run from EDM to more EDM.  I had heard the name Toni Braxton, of course.  I knew that there was a reality show called Braxton Family Values, though I’ve never seen an episode.  But I didn’t know much about her or her life.

So, as I watched, I kept waiting for the inevitable moment when Toni Braxton would first be pressured into trying cocaine or when she would end up in an abusive marriage or when she would eventually end up going through a Hellish rehab experience.  But none of that happened, largely because Toni Braxton appears to have been pretty intelligent when it came to making her life decisions.

Oh, there’s certainly some drama.  She had some financial difficulties early on her career.  Some members of her family get jealous of her success but not so jealous that they can’t be totally supportive.  She gets married but the marriage ends — not because of infidelity or abuse but just because sometimes marriages end.  And really, Lifetime should be commended for the way it handled the end of Braxton’s marriage because sometimes, marriages just don’t work out and it’s not anyone’s fault.  Finally, Toni discovers the she has Lupus.  Lupus is a serious disease and both Toni and the movie deserve full credit for educating the public.

In the end, Toni Braxton: Unbreak My Heart is a well-made and perfectly pleasant film but it’s not particularly memorable  Lex Scott Davis does a good as Toni and the film provides good roles for a lot of talented African-American performers.  But, as a movie, Toni Braxton: Unbreak My Heart never quite reaches the memorable heights of last year’s Whitney.

Cleaning Out The DVR #35: Stage Door (dir by Gregory La Cava)


(For those following at home, Lisa is attempting to clean out her DVR by watching and reviewing 38 films by the end of today!!!!!  Will she make it?  Keep following the site to find out!)

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The 1937 film Stage Door is a great example of a unique genre of American film, the Katharine Hepburn Gets Humbled genre.

In the 1930s, Katharine Hepburn went through a period of time where she was considered to be “box office poison.”  She was undeniably talented but it was obvious that the studios weren’t sure how to showcase that talent.  They put her in high-brow films that often did not have much appeal to audiences.  As well, the press hated her.  Katharine Hepburn was outspoken, she was confident, she was a nonconformist, and, too many, her refusal to do interviews and sign autographs marked her as a snob.  Very few people wanted to see a movie starring Katharine Hepburn and therefore, very few people were willing to make a movie starring Katharine Hepburn.

(Interestingly enough, as I sit here typing this, another KH — Katharine Heigl — is pretty much in the exact same situation, with the main difference being that Hepburn was a far more interesting actress.)

Fortunately, Katharine Hepburn was smart enough to recognize the problem and she started to appear in films like Stage Door.  In Stage Door, she essentially played a character who mirrored the public’s perception of her.  Terry Randall is a snobbish and pretentious aspiring actress who comes to New York to pursue her career and moves into a theatrical rooming house.  At first, her attitude makes her unpopular with the other actresses living in the house.  But, as the film progresses, Terry slowly starts to let down her defenses and reveals that she’s just as insecure, neurotic, and vulnerable as everyone else.  She also proves herself to be willing to stand up to manipulative producers and condescending directors.  When she’s cast in her first Broadway show, it turns out that the show is being financed by her father and his hope is that she’ll do such a bad job and be so humiliated that she’ll give up acting.  And, at first, it appears that Terry will be terrible.  During rehearsals, she is stiff and mannered.  (Hepburn was actually quite brave to portray Terry as being such a believably bad actress.)

Of course, Terry isn’t the only actress at the rooming house who has issues to deal with.  For instance, Judy Canfield (Lucille Ball) has to choose between pursuing her career or getting married and starting a family.  Kay (Andrea Leeds) is a once successful actress who is now struggling to find roles, can’t pay her bills, and has become suicidal as a result.  And then there’s Jean (Ginger Rogers), Terry’s cynical roommate and frequent enemy and occasional friend.  Jean is falling in love with Anthony Powell (Adolphe Menjou), the lecherous producer of Terry’s play.

Stage Door is a wonderfully entertaining mix of melodrama and comedy.  You’ll laugh, you’ll cry, and you’ll really find yourself hoping that all of the actresses at the rooming house will have their dreams come true.  While the film is dominated by Hepburn and Rogers, it truly is an ensemble piece.  Not only does the cast include Eve Arden, Lucille Ball and Andrea Leeds (giving the film’s best and most poignant performance) but the great dancer Ann Miller appears as Jean’s equally cynical best friend.  Stage Door may be 79 years old but it’s aged wonderfully.

At the box office, Stage Door was a modest success and it directly led to Hepburn being cast in the classic screwball comedy, Bringing Up Baby.  Stage Door was nominated for best picture but it lost to The Life of Emile Zola.

Cleaning Out The DVR #34: The Story of Louis Pasteur (dir by William Dieterle)


(For those following at home, Lisa is attempting to clean out her DVR by watching and reviewing 38 films by the end of today!!!!!  Will she make it?  Keep following the site to find out!)

The_Story_of_Louis_Pasteur_poster

OH MY GOD, LOUIS PASTEUR WAS THE DEVIL!

Okay, maybe not but that’s certainly the impression that you might get from looking at the one sheet for the 1936 film, The Story of Louis Pasteur.  Seriously, Louis looks quite sinister!

As the movie starts, that’s certainly the view of the 19th century French medical establishment.  A doctor has been murdered by a grieving husband and it’s believed that the murder was inspired by one of Pasteur’s incendiary flyers.  What does the flyer demand?  That doctors should wash their hands and sterilize their instruments before operating.

That’s right!  Washing your hands before plunging them into a human body was once considered to be a controversial notion.  Pasteur is put on trial, accused of inciting violence with his quackery.  Even though Pasteur is acquitted, he finds himself a pariah.  The autocratic and close-minded Dr. Charbonnet (Fritz Leiber) declares Pasteur to be guilty of great quackery and even the ducks are offended.  That’s how hated Pasteur has become.

But, of course, we the audience know that Pasteur is not a quack.  Not only do we know that he is responsible for discovering the process of pasteurization but he’s also apparently important enough to have his own 1930s Warner Bros. biopic.  And he’s played by Paul Muni, who made a career out of playing great men in 1930s biopics.

The film follows Pasteur as he discovers cures for anthrax and rabies.  Along the way, he yells at a lot of people and he gives a lot of speeches.  This film might as well have been called The Paul Muni Show and … well, his performance is okay.  It’s not great.  If you’ve seen the very first version of Scarface, you know that Paul Muni was capable of giving a far better performance than he gives here.  But then again, as written, all Louis does is bellow against everyone who disagrees with him.  (And cure rabies, we shouldn’t overlook that.)

The Story of Louis Pasteur is one of those old-fashioned biopics that feels a bit creaky and stiff today.  As I watched it, I kept thinking that it felt like something you might across on PBS at three in the morning.  However, 1936 audiences disagreed with me.  The Story of Louis Pasteur did quite well at the box office and was nominated for best picture, though it lost to another biopic, The Great Ziegfeld.